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)
Seda Eylül Tansık - Toydum Tan Taşçı - Chord
Key F major – D minor Chords Bb, Am7, Dm, C, Gm7 Easy key G
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Key: F | Dm
Capo: 0
Dm
Geçmez bu dert benden
C
Kabuğuna düşman bir yara
Bb
İçmişim zehri elinden
Am7
Boynum bükük bahara
Dm
Adın bir 'yasak' kuş
C
Süzülür cennetimde
Bb
Ellerin neden bana düş
Am7
Durmuyor gözlerimde
Dm
Sakladım umudumu
Bb
Kilitli sandıklara
Gm7 Bb
Muhal değil ki bu aşk
Am7
Telaşım vur kaçlara
Dm Bb
Toydum, yenildim
C Am7
Zordun, yanıldım
Bb Gm7
Zaten evimdin geldim
Am7 Bb Am7
Bu son yeminim olsun
Dm Bb
Toydum, yenildim
C Am7
Zordun, yanıldım
Bb Gm7
Zaten evimdin geldim
Am7 Bb Am7
Bu son yeminim olsun
End of song Play again?
Seda Eylül Tansık - Toydum Tan Taşçı Tabs
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Harmony analysis
Seda Eylül Tansık – Toydum Tan Taşçı: 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.
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 5 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 | — |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 3× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 9× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 10× |
| V | C | Dominant — strongest pull home | C · E · G | 4× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 5× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 5× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 3× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 9× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 10× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 4× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 31 times in total; 5 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
- Am7 Dm Fiii7 → vi Dmv7 → inatural-minor cadence ×4
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
The move to watch is Am7 → Dm, heard 4 times. From the Dm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Am7, 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.
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 opening Dm lays a solid floor for everything that follows. The backbone is Bb, Am7, Dm, C — IV–iii7–vi–V from the F side, VI–v7–i–VII from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Dm (iii7 → vi in F, v7 → i in Dm): natural-minor cadence — gentle, modal arrival. Ending on Am7, 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.
Seda Eylül Tansık - Toydum Tan Taşçı 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: Seda Eylül Tansık, Tan Taşçı Music: Seda Eylül Tansık, Tan Taşçı
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