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)
Tuğçe Kandemir - Sakın Ola - Chord
Key F major – D minor Chords Am, Bb, C, F, Gm, Dm Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am
Zaman değil zaman
F
Gururdan dem vuran
Am C
Şu sonsuz mutluluk falan
Bb Am
Hepsi yalan
Am
Her şeyin ilacı gibi
F C
Bunun da ilacı bellii
Bb Dm
Bu roman senle başlar
Bb C Am
Sensiz biter mi
Am
Ayrılık derdine düştüm
F
Unuttum kendimi de
C Dm
Benim gözüm sende
Am F Gm Am
Seninse yükseklerdee
Am Bb
Sakın ola bakma bana öyle
Gm Am
Yükseklerden
Bb
Sana olan nefretim değil mi
Gm Am
Zaten yalanın hası
C
Sözüm ona düşürdü gözden
Bb Am
Bu göz yaşımı
Bb
Deyin ona çoktan kalktı kalpten
Gm Am
Gidenin naaşı
End of song Play again?
Tuğçe Kandemir - Sakın Ola Tabs
NotesX
Harmony analysis
Tuğçe Kandemir – Sakın Ola: key and chord analysis
The song opens on Am and ends on Am. 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: to us the song feels closer to the F major side because F is heard 4 times against 2 for Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
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 | 4× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 4× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 13× |
| 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 | 5× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 2× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 2× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 4× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 4× |
| v | Am | Minor dominant — soft pull | A · C · E | 13× |
| 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 | 5× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 35 times in total; 6 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 Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
- Bb Dm FIV → vi DmVI → iVI → i ×1
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×1
The move to watch is C → Dm, heard once. From the F side it reads V → vi (deceptive cadence: expected F, lands on Dm); from the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 Am, 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 C, land on C, E, G — 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
Starting on Am, the song gives away its key from the very first bar. The backbone is Am, Bb, C, F — iii–IV–V–I from the F side, v–VI–VII–III 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 → Dm (V → vi in F, VII → i in Dm): deceptive cadence — expected F, lands on Dm. Ending on Am, the song seals F as home.
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.
Tuğçe Kandemir - Sakın Ola 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: Tuğçe KandemirMusic: Tuğçe KandemirArrangement: Yiğit Mahzuni
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