Sertab Erener - Yokluğun Dokunmadı Bana - Chord

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

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Capo 0

Dm    C           Am        Bb
 Sonbahar dolaşır perdelerimde
Dm    C             Am          Bb
 Sevdiğin kazağım üstümde bugün de
Dm   C           Am          Bb
 Uykusuz her gecemin haricin de
Am                   Dm
Yokluğun dokunmadı bana

Dm    C               Am             Bb
 Fazladan bi kahve yaptım senin için de
Dm         C              Am          Bb
 Hep bir şeyler eksik ben mutluyken bile
Dm   C     Am         Bb
 11 ay 9 günün haricinde
Am                  Bb
Yokluğun dokunmadı bana

Bb          C               Bb
 Asıl sen nasılsın görüşmeyeli
              C      Bb
Nerde ne yaparsın şimdi
              C                  Bb
Hiç özlemedin mi, özlemedin mi beni
               C                Dm
Susmuyor içimdeki, şeytan diyor ki

Dm            C           Dm
Kalk git bul onu, çık yoluna
           C                  Dm
Aklın ne derse desin gir koynuna
                 C            Bb
O gözleri gözlerine değsin sonra
              Am                    Dm
Hiçbir şey sorma, bu felaketin de olsa

Dm            C             Dm
Kalk git bul onu, sarıl boynuna
           C                   Dm
Güneş doğmasın, soyun gir koynuna
                 C             Bb
O gözleri gözlerine, değsin sonra
              Am                    Dm
Hiçbir şey sorma, bu felaketin de olsa

End of song Play again?

Sertab Erener - Yokluğun Dokunmadı Bana Tabs

NotesX

Harmony analysis

Sertab Erener – Yokluğun Dokunmadı Bana: key and chord analysis

The song opens on Dm and ends on Dm. 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 both starts and finishes on Dm and Dm is heard 16 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	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	10×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	13×
V	C	Dominant — strongest pull home	C · E · G	16×
vi	Dm	Relative minor — the melancholy side	D · F · A	16×
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	16×
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	—
v	Am	Minor dominant — soft pull	A · C · E	10×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	13×
VII	C	Subtonic — steps back to the tonic	C · E · G	16×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 55 times in total; 4 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 ×5
Bb Dm FIV → vi DmVI → iVI → i ×4
Bb C FIV → VIV → V DmVI → VIIVI → VII ×4
Am Dm Fiii → vi Dmv → inatural-minor cadence ×3

The move to watch is C → Dm, heard 5 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (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 Dm, land on D, F, A — 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.
Over Bb, land on Bb, D, F — 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

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is Dm; the ear learns where home is within a second. The backbone is Dm, C, Bb, Am — vi–V–IV–iii from the F side, i–VII–VI–v 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): Aeolian arrival — rises a whole tone into home. Ending on Dm, the song seals Dm 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.