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)
Yüzyüzeyken Konuşuruz - Kaş - Chord
Key F major – D minor Chords Gm, C, Dm, Am Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Am Dm Am
Gm C
Aklıma sen gelirdin
Gm C
Sığmazdın kilo verirdin
Gm C
Yorgun gece sabahında
Gm C Dm
Evimde çıplak gezerdin ya
Am Dm Am Gm
Bana bakıp biraz daha
C
Bekler misin, demiştin
Dm Am Dm Am Gm
Ben sana hayır benim işim
C Dm Am Dm Am Gm C
Daha acele demiştim ya
Dm Am Dm
Yine gitsek ya Kaşa
Am Gm
Otursak bir taşa
C
Ağaçlara hayranca baksak
Dm Am
Bir gece çat diye
Dm Am
Yollara düşsek
Gm C
Bir şeyler çözsek
Gm C
Daha başka olur Kaş
Gm C
Bambaşka olur Kaş
Gm C
İşte o zaman bir taş
Gm
Tam olarak bir taş
C
Olur olur olur
Gm C
Dün akşam bir kız görmüştüm
Gm C
Bir dostun doğum günüydü
Gm C
Ben öyle göz görmemiştim
Gm C
Sanki üç günlük ölüydü
Dm Am Dm Am
Üstünde güller açmıştı
Gm C
Dostlarım hep taşlanmıştı
Dm Am Dm Am
Gençken güzel olan kızlar
Gm C
Hep çok çirkin yaşlanmıştı.
Dm Am Dm Am Gm C
Ayyyayyayyayyayyaayyayy
Dm Am Dm
Yine gitsek ya Kaşa
Am Gm
Otursak bir taşa
C
Ağaçlara hayranca baksak
Dm Am
Bir gece çat diye
Dm Am
Yollara düşsek
Gm C
Bir şeyler çözsek
Gm C
Daha başka olur Kaş
Gm C
Bambaşka olur Kaş
Gm C
İşte o zaman bir taş
Gm
Tam olarak bir taş
C
Olur olur olur
Gm C Gm C
End of song Play again?
Yüzyüzeyken Konuşuruz - Kaş Tabs
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Harmony analysis
Yüzyüzeyken Konuşuruz – Kaş: key and chord analysis
The song opens on Dm and ends on C. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it opens on Dm and Dm is heard 22 times while F never appears. 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 28× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 22× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | 28× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 22× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 22× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 28× |
| v | Am | Minor dominant — soft pull | A · C · E | 22× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 28× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 100 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Gm C Fii → Vii → V Dmiv → VII ×28
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×11
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×10
The move to watch is Gm → C, heard 28 times. From the Dm side it is iv → VII; from the F side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
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. The chords that keep coming back are Gm, C, Dm, Am; read them as ii–V–vi–iii in F or iv–VII–i–v in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → C (ii → V in F, iv → VII in Dm): ii → V — the classic preparation of the dominant. The final chord is C; the ear comes to rest in F.
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.
Yüzyüzeyken Konuşuruz - Kaş 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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Lyrics: Kaan Boşnak Music: Kaan Boşnak
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