Emre Aydın - Kim Dokunduysa Sana Ona Git - Chord

Key F major – D minor Chords Am, Gm, Bb, Dm, A Easy key C (capo 5)

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Capo 0

Dm
Yapma,  dokunma                     
                      Am
Kim dokunduysa sana ona git   
                       Bb                            
Nerde unuttuysan beni orada kal             
            Gm      A
Ezdirmem kendimi sana    

Am                       Gm
Yaptım çünkü aşık oldum deme, konuşma
Am                    Gm
Ona öyle demezler buralarda
Am                   Bb
Alem inansa sözüne ben inanmam

Am                Gm
Beş para eder mi varlığın
Am                Gm
Ki yokluğun beni acıtsın
Am                     Bb
Alem eğilsin önünde, ben eğilmem
 
Dm
Yapma,  dokunma                     
                      Am
Kim dokunduysa sana ona git   
                       Bb                            
Nerde unuttuysan beni orada kal             
            Gm      A
Ezdirmem kendimi sana  

Am                 Gm
Sen öğrettin bana ağlamayı
Am                     Gm
Başıma yastık basıp hıçkırmayı
Am                       Bb
Alem affetse seni ben affetmem    

Am               Gm
Onlar gibi değilim ben
Am                Gm
Adam olmadı hala benden
Am                         Bb
Adam kölen olsun senin, ben olmam

End of song Play again?

Emre Aydın - Kim Dokunduysa Sana Ona Git Tabs

NotesX

Harmony analysis

Emre Aydın – Kim Dokunduysa Sana Ona Git: key and chord analysis

The song opens on Dm and ends on Bb. Its chords belong to both F major and Dm, so every chord below is read both ways.

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)

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 opens on Dm, Dm is heard 2 times while F never appears 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	10×
iii	Am	Mediant — a tonic-family shade	A · C · E	14×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	2×
IV	Bb	Subdominant — moves away from home	Bb · D · F	6×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	2×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	2×
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	10×
v	Am	Minor dominant — soft pull	A · C · E	14×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	2×
VI	Bb	Submediant — warm colour	Bb · D · F	6×
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). 5 different chords appear 34 times in total; 4 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.

Chord movement

Gm A Fii → V/vi Dmiv → Viv → V ×2
Bb Dm FIV → vi DmVI → iVI → i ×1

The move to watch is Gm → A, heard 2 times. From the Dm side it is iv → V (iv → V: the minor side's tension builder); from the F side it reads ii → V/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 Am, land on A, C, E — 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 Bb, land on Bb, D, F — 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.

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. Am, Gm, Bb, Dm carry the song: iii–ii–IV–vi relative to F, v–iv–VI–i 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 → A (ii → V/vi in F, iv → V in Dm): iv → V — the minor side's tension builder. Ending on Bb, the song seals F as home.

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.