Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Feride Hilal Akın - Tutku - Chord
Key Bb major – G minor Chords Gm, Eb, Dm, Cm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Eb
Bakıyorum yine burdasın
Cm
Lütfen içinde kuşku kalmasın
Gm
Her şeyini dökme sofraya
Eb
Kurtlar kapmasın
Gm
Adına bi şiir yazdım
Eb Dm
Son satırında seni anlattım
Gm
Andım yalandın
Kafa kalmadı
Eb
Yakalandım sana
Gm
Bir tutku bunu tattım da nutkum tutuldu
Eb Dm
Bi yol var bildiğim ellerin en derin kuytum
Gm Eb
Görebildiğin bir rüyada en derin uykunum
Gm
Gel gel gerçek bir dünyadan mı sunuldu
Tüm bu kurgu
Eb
Hepsi, hepsi, hepsi bir oyundu
Gm
Gel gel gerçek bir dünyadan mı sunuldu
Tüm bu kurgu
Eb Gm
Hepsi, hepsi, hepsi bir oyundu
Hepsi, hepsi bir oyundu
Eb Dm
Hepsi, hepsi bir oyundu
Gm
En derin uykumdu
Eb
En derin uykumdu
Gm
Uza boş konu, çok çok, sıkar canımı
Kabul edilmez dur, dur
Kabul kabul edilmez, dur dur dur
Gm
Büyüyorum usulca
Gizleniyorum odama
Yazıyorum öylece
Eb
Yaşadığım ne varsa
Döküyorum bi anda kağıda
Gm
Baştan sona
Geçiyor zaman
Eb
Geliyor dile
Dm
sarılıyorum arzulara
Gm
Bir tutku bunu tattım da nutkum tutuldu
Eb Dm
Bi yol var bildiğim ellerin en derin kuytum
Gm Eb
Görebildiğin bir rüyada en derin uykunum
Gm
Gel gel gerçek bir dünyadan mı sunuldu
Tüm bu kurgu
Eb
Hepsi, hepsi, hepsi bir oyundu
End of song Play again?
Feride Hilal Akın - Tutku Tabs
NotesX
Harmony analysis
Feride Hilal Akın – Tutku: key and chord analysis
The song opens on Gm and ends on Eb. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 16 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 1× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 5× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 15× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 16× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 16× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 1× |
| v | Dm | Minor dominant — soft pull | D · F · A | 5× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 15× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 37 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
- Eb Gm BbIV → vi GmVI → iVI → i ×8
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×5
- Cm Gm Bbii → vi Gmiv → iminor plagal ×1
The move to watch is Eb → Gm, heard 8 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. The backbone is Gm, Eb, Dm, Cm — vi–IV–iii–ii from the Bb side, i–VI–v–iv from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. The final chord is Eb; the ear comes to rest in Bb.
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.
Feride Hilal Akın - Tutku 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: Feride Hilal AkınMusic: Feride Hilal AkınArrangement: Tanerman
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