Tan Taşçı - Eski Sevgilim (Canlı) - Chord

Key F major – D minor Chords Am7, Bb, Gm7, Dm7, Bbmaj7, C, Fmaj7, Dm … Easy key C (capo 5)

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Capo 0

Dm                    Bbmaj7               Am7
Neden yüzüme bakamıyorsun, yine ne saklıyorsun
    Bb            Gm7           F
İnan bir tek sende gizli kalmayacak
  Dm7               Bbmaj7             Am7
İnsaf canımı yakıyorsun, neyine yapıyorsun
      Bb        Gm7           Am7
Durdur intikamım ikimizi de yakacak

Bbmaj            Gm7
Saygımdan sevgimden biraz değer verdiysen
Am7                      Gm7            Am7
Yaşadıysam bir sebebi var bir son bahar ömrümden

Am  Bb  C

Dm7                  Bbmaj7                  Am7
 Kim olursan ol senin adın eski sevgilim kalacak
                Fmaj7    Dm7           Gm7
Kalbine sor beni sor hadi yarın geç olacak
                                      Am7
Sebepler bul bana yalanlar kur hadi ancak
                  C         Bb    Am7
Önce kendini affet ben seni affettim

Dm7                  Bbmaj7                  Am7
 Kim olursan ol senin adın eski sevgilim kalacak
                Fmaj7    Dm7           Gm7
Kalbine sor beni sor hadi yarın geç olacak
                                      Am7
Sebepler bul bana yalanlar kur hadi ancak
                  C         Bb    Am7
Önce kendini affet ben seni affettim

End of song Play again?

Tan Taşçı - Eski Sevgilim (Canlı) Tabs

NotesX

Harmony analysis

Tan Taşçı – Eski Sevgilim (Canlı): key and chord analysis

The song opens on Dm and ends on Am7. 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 6 times against 3 for F. 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
Imaj7	Fmaj7	Tonic — home	F · A · C · E	2×
I	F	Tonic — home	F · A · C	1×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	5×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	11×
iii	Am	Mediant — a tonic-family shade	A · C · E	1×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	5×
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	4×
V	C	Dominant — strongest pull home	C · E · G	3×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	5×
vi	Dm	Relative minor — the melancholy side	D · F · A	1×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	5×
i	Dm	Tonic — home	D · F · A	1×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
IIImaj7	Fmaj7	Relative major — the bright side	F · A · C · E	2×
III	F	Relative major — the bright side	F · A · C	1×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	5×
v7	Am7	Minor dominant — soft pull	A · C · E · G	11×
v	Am	Minor dominant — soft pull	A · C · E	1×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	5×
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	4×
VII	C	Subtonic — steps back to the tonic	C · E · G	3×

Analysis

The key pair is F major and its relative D minor (1 flat). 10 different chords appear 38 times in total; 10 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

C Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×1
Bb C FIV → VIV → V DmVI → VIIVI → VII ×1
Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×1

The move to watch is C → Dm7, heard once. From the Dm side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi7 (deceptive cadence: expected F, lands on Dm). 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 Am7, land on A, C, E — 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 Gm7, land on G, Bb, D — 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 opening Dm lays a solid floor for everything that follows. The backbone is Am7, Bb, Gm7, Dm7 — iii7–IV–ii7–vi7 from the F side, v7–VI–iv7–i7 from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Dm7 (V → vi7 in F, VII → i7 in Dm): Aeolian arrival — rises a whole tone into home. 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.