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)
Eymen Adal - Taca Sera - Chord
Key F major – D minor Chords Am, Dm, G Difficulty already in its easiest key
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Key: F | Dm
Capo: 0
Am Dm Am G Dm Am G Am
G Am
Dîlber tu av ez ji axim
Dm
Ez bi te kulîlk u baxim
Am
Ketîye nava dil der naxim
Am Dm
Gula li ber rê ya te raxim
Am
Navê te li taca sera xim
G
Emrê xwe ji bo te feda kim
Dm Am
Çavê te ji rengê ezmane
G
Ji min ra bêhn u dermane
Am
Keçê ez nemirîme saxim
G Am
Dîlber tu saz ez helbestim
Dm
Ez ji bo te bi girîn u bi hestim
Am
Bê te nexweş u ser mestim
Dilber sen su ben toprağım
Seninle çiçekle bahçeyim
Yüreğimden çikaramam seni
Yollarına güller dökerim
Adını başlara taç yaparim
Ömrümü sana feda ederim
Gözlerin gökyüzü renginde
Bana nefesle ilaç gibidir
Kız ben ölmedim yaşıyorum
Dilber sen saz ben şiirim
Senin için ağlarım duygusalim
Sensiz hasta ve sersem gibiyim
End of song Play again?
Eymen Adal - Taca Sera Tabs
NotesX
Harmony analysis
Eymen Adal – Taca Sera: 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 D minor side because Dm is heard 6 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| II | G | Chromatic colour chordoutside the key | G · B · D | 6× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 12× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 6× |
| 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 | — |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 6× |
| v | Am | Minor dominant — soft pull | A · C · E | 12× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| 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). 3 different chords appear 24 times in total; 2 of them sit naturally inside the shared scale. G step outside the scale as colour chords.
Chord movement
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×4
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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — 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.
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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Am; the ear learns where home is within a second. Am, Dm, G carry the song: iii–vi–II relative to F, v–i–IV relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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.
Eymen Adal - Taca Sera 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: Rezan KoçMusic: Rezan KoçArrangement: İshak Şık
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