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)
Sıla - Tam da Bugün - Chord
Key F major – D minor Chords Bb/G, Am7, Am, Bbmaj7, Gm, Bb, Gm7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Bb/G Am7 Sana değerde geçer Bb/G Am7 Beni delerde geçer Bb/G Am7 Seyreden gülerde geçer Bb/G Am7 Her gece daha yorgun Bb/G Am7 Her sabah daha kırgın Bb/G Am7 Tamda bugün çok yalnız Bbmaj7 Hep aynı başlıyor bitiyor ve Am İki kişiden biri vazgeçiyor ve Gm Am Biri hep daha çok çok seviyor be Bb Aynı başlıyor bitiyor ve Am İki kişiden biri vazgeçiyor ve Gm7 Am Biri hep daha çok çok seviyor be Bb/G Am7 Unutulurda gider Bb/G Am7 Acı içine döner Bb/G Am7 Bb/G Am7 Sonra bi gün geri döner Bb/G Am7 Bb/G Am7 Yerini hatırlarsın izi artık yoksa da Bb/G Am7 Bb/G Am7 Tam da bugün işte o gündü
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Sıla - Tam da Bugün Tabs
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Harmony analysis
Sıla – Tam da Bugün: key and chord analysis
The song opens on Bb/G and ends on Am7. 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: we can't honestly pick a side here — the song moves freely between F major and D minor. Try reading the chords both ways and see which feels more like home to you.
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 | 1× |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 1× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 14× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 4× |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IV | Bb/G | Subdominant — moves away from home | Bb · D · F | 14× |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 1× |
| 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 | — |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| 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 | 1× |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 1× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 14× |
| v | Am | Minor dominant — soft pull | A · C · E | 4× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb/G | Submediant — warm colour | Bb · D · F | 14× |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 1× |
| 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 36 times in total; 7 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Bb/G, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — 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
The first chord is Bb/G; the ear learns where home is within a second. The backbone is Bb/G, Am7, Am, Bbmaj7 — IV–iii7–iii–IVmaj7 from the F side, VI–v7–v–VImaj7 from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Am7, letting the F side have the last word.
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.
Sıla - Tam da Bugün 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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