Suzan Hacıgarip - Ben Sende Tutuklu Kaldım - Chord

Key F major – D minor Chords Dm, Bb, C, Am, Db, Fm, Cm Easy key G

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Dm        Bb  Dm
Ne senden öncesi
               Am
Ne senden sonrası
Dm        Db   Fm
Ne senden öncesi
          Cm
Ne senden sonrası

Dm
Ayrılık aman
C
Ölümden yaman
Bb             Am
Geçmiyor zaman geçmiyor

Dm
Ne anam, babam
C
Ne hoş hatıram
Bb             Am
Yetmiyor canım yetmiyor

                    Dm
Ben sende tutuklu kaldım
                   C
Kendi hayatımdan çaldım
               Bb
Yedi cihan dolandım
C      Bb      Am
Bana mısın demiyor

Dm
Sakladım gözlerimi
C
Sustum hep sözlerimi
Dm                   Bb
Yandım yar közlerimi ah
C       Bb       Am
Savur savur bitmiyor

End of song Play again?

Suzan Hacıgarip - Ben Sende Tutuklu Kaldım Tabs

NotesX

Harmony analysis

Suzan Hacıgarip – Ben Sende Tutuklu Kaldım: key and chord analysis

The song opens on Dm and ends on Am. 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)

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 8 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
i	Fm	Chromatic colour chordoutside the key	F · Ab · C	1×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	5×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	7×
V	C	Dominant — strongest pull home	C · E · G	6×
v	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
bVI	Db	Borrowed from the parallel minorborrowed chord	Db · F · Ab	1×
vi	Dm	Relative minor — the melancholy side	D · F · A	8×
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	8×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iii	Fm	Chromatic colour chordoutside the key	F · Ab · C	1×
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
v	Am	Minor dominant — soft pull	A · C · E	5×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	7×
VII	C	Subtonic — steps back to the tonic	C · E · G	6×
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
#VII	Db	Chromatic colour chordoutside the key	Db · F · Ab	1×

Analysis

The key pair is F major and its relative D minor (1 flat). 7 different chords appear 29 times in total; 4 of them sit naturally inside the shared scale. Db is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Am Dm Fiii → vi Dmv → inatural-minor cadence ×4
Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
Bb Dm FIV → vi DmVI → iVI → i ×1

The move to watch is Am → Dm, heard 4 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → 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 Bb, land on Bb, D, F — 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.
On Db, follow the chord's notes (Db · F · Ab) 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

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. Dm, Bb, C, Am carry the song: vi–IV–V–iii relative to F, i–VI–VII–v relative to Dm. Db briefly darkens the picture: borrowed from the parallel minor. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. The final chord is Am; 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.