Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Hüsnü Arkan - Giderler - Chord
Key F major – D minor Chords Dm, Gm, A, F, Eb, Am, Bb Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm A
Biz bu mülkün sahibiyiz oooo
Gm Dm
Lale sümbül mor menekşe oooo
Gm A
Beyler misafir gelirler giderler
F Eb Dm
Beyler misafir giderler
Dm Gm Am
Beyler misafir gelirler giderler
F Eb Dm
Beyler misafir giderler
F Eb Dm
Dm A
Burası çiçek çarşısı oooo
Gm Dm
Hükümetin tam karşısı oooo
Gm A
Alıp satanlar gelirler giderler
F Eb Dm
Beyler misafir giderler
Dm
Bahçedir insan dediğin bahçe
A
Eker biçerler hüküm ferman olur
Gm
Düğün Bayram olur
Dm
Derde derman olur n
Gm Dm Gm Dm
Oooooooooo, Oooooooooo
Dm Bb Gm A
Dm A
Geceler üst üste gelsin oooo
Gm Dm
Şu gelen beyler gelsin oooo
Gm A
Nice geldiler gittiler giderler
F Eb Dm
Beyler misafir giderler
Dm A
Biz bu mülkün sahibiyiz oooo
Gm Dm
Lale sümbül mor menekşe oooo
Gm A
Beyler misafir gelirler giderler
F Eb Dm
Beyler misafir giderler
Dm
Bahçedir insan dediğin bahçe
A
Eker biçerler hüküm ferman olur
Gm
Düğün Bayram olur
Dm
Derde derman olur n
Gm Dm Gm Dm
Oooooooooo, Oooooooooo
End of song Play again?
Hüsnü Arkan - Giderler Tabs
NotesX
Harmony analysis
Hüsnü Arkan – Giderler: key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it both starts and finishes on Dm, Dm is heard 24 times against 6 for F and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to F or to Dm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 6× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 16× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 1× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 11× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 1× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 24× |
| bVII | Eb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Eb · G · Bb | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 24× |
| bII | Eb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Eb · G · Bb | 6× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 6× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 16× |
| v | Am | Minor dominant — soft pull | A · C · E | 1× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 11× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 1× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 65 times in total; 5 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. Eb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Gm Dm Fii → vi Dmiv → iminor plagal ×10
- Gm A Fii → V/vi Dmiv → Viv → V ×5
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×1
The move to watch is Gm → Dm, heard 10 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
- On Eb, follow the chord's notes (Eb · G · Bb) rather than the key's scale — it's a borrowed colour.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. Dm, Gm, A, F carry the song: vi–ii–V/vi–I relative to F, i–iv–V–III relative to Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. The final chord is Dm; the ear comes to rest in Dm.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Hüsnü Arkan - Giderler Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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