Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Ceren Gündoğdu - Tutsak (Özgür Çevik) - Chord
Key D major – B minor Chords F#m, G, Bm, Dmaj7, Em, C#m, E, F Easy key C (capo 2)
No ratings yet
or your user informations
Make it yours
Text size
Key: D | Bm
Capo: 0
F#m Bm F#m
F#m
İhaneti sende gördüm
Sende şiddeti gördüm aşkı gördüm
Yanarak içinden geçtim aşkın
Kor olmadan küle döndüm
C#m Dmaj7
Dokun bana bana dokun ne olur
E F#m
Hasretinden öldüm
G
Kopar zincirleri yeniden gel
Dmaj7 F#m
Durmadan gel hep gel
Bm G
Ben sana tutsak sen bana yasak
F#m G F#m
Gel günahlarla korkularla gel
G
Ben savunmasız çırılçıplak
F#m G F
Sen hesaplarla sorgularla gel
Bm F#m
Geçiyor günler çok üzgünüm
G Em F#m
Geçiyor akşamlar sessiz
Bm F#m
Geceyi yırtar yalnızlığım
G Em F#m
Güneşi yakarım sensiz
End of song Play again?
Ceren Gündoğdu - Tutsak (Özgür Çevik) Tabs
NotesX
Harmony analysis
Ceren Gündoğdu – Tutsak (Özgür Çevik): key and chord analysis
The song opens on F#m and ends on F#m. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because Bm is heard 4 times against 2 for D. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 |
|---|---|---|---|---|
| Imaj7 | Dmaj7 | Tonic — home | D · F# · A · C# | 2× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 2× |
| II | E | Chromatic colour chordoutside the key | E · G# · B | 1× |
| bIII | F | Borrowed from the parallel minorborrowed chord | F · A · C | 1× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 12× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 7× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 4× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| vii | C#m | Chromatic colour chordoutside the key | C# · E · G# | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 4× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| ii | C#m | Chromatic colour chordoutside the key | C# · E · G# | 1× |
| IIImaj7 | Dmaj7 | Relative major — the bright side | D · F# · A · C# | 2× |
| iv | Em | Subdominant — moves away from home | E · G · B | 2× |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 1× |
| #IV | F | Chromatic colour chordoutside the key | F · A · C | 1× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 12× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 7× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
Analysis
The key pair is D major and its relative B minor (2 sharps). 8 different chords appear 30 times in total; 5 of them sit naturally inside the shared scale. F is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×3
- G Dmaj7 DIV → Imaj7plagal cadence BmVI → IIImaj7 ×1
The move to watch is F#m → Bm, heard 3 times. From the Bm side it is v → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- On F, follow the chord's notes (F · A · C) 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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening F#m lays a solid floor for everything that follows. F#m, G, Bm, Dmaj7 carry the song: iii–IV–vi–Imaj7 relative to D, v–VI–i–IIImaj7 relative to Bm. F briefly darkens the picture: borrowed from the parallel minor. Keep an ear on F#m → Bm (iii → vi in D, v → i in Bm): natural-minor cadence — gentle, modal arrival. It closes on F#m, letting the D 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.
Ceren Gündoğdu - Tutsak (Özgür Çevik) 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Onat Kutlar
Ece Aksoy
Ersin Salman
Sezen Aksu
Onno TunçMusic: Onno Tunç
Ece Aksoy
Ersin Salman
Sezen Aksu
Onno TunçMusic: Onno Tunç
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.