Tan Taşçı - Kal - Chord

Key F major – D minor Chords Am7, Gm7, Dm7, C, F, Bbmaj7 Easy key C (capo 5)

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Capo 0

      Am7          Dm7
Şimdi bu söylediklerim
      Gm7           Am7
Senin hiç bilmediklerin
F                    Bbmaj7
Ben bir taraf olamam artık
      Gm7                 Am7
Ama senin gibi vardı sebeplerim

C                   Dm7
Hep bana gülüşünü hatırlıyorum
Gm7               Am7
Son gidişini neden unutamıyorum
C              Dm7
Ben de denedim olmadı zaten
         Gm7          Am7
Çok eskidendir uğraşmıyorum

C                    Dm7
Kal bile diyemiyorum anla sen artık
     Gm7              Am7
Elim bir yarayı taşıyorum
C               Dm7
Biz o kişiler değildik
             Gm7               Am7
Zamanla öğrendim, buna da alışıyorum

C  Dm7  Gm7  Am7
x2

C                    Dm7
Kal bile diyemiyorum anla sen artık
     Gm7              Am7
Elim bir yarayı taşıyorum
C               Dm7
Biz o kişiler değildik
             Gm7               Am7
Zamanla öğrendim, buna da alışıyorum

End of song Play again?

Tan Taşçı - Kal Tabs

NotesX

Harmony analysis

Tan Taşçı – Kal: key and chord analysis

The song opens on Am7 and ends on Am7. 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 Dm is heard 8 times against 1 for F. 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	1×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	9×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	10×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	1×
V	C	Dominant — strongest pull home	C · E · G	7×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	8×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	8×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	1×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	9×
v7	Am7	Minor dominant — soft pull	A · C · E · G	10×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	1×
VII	C	Subtonic — steps back to the tonic	C · E · G	7×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 36 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 Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×7
Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×1

The move to watch is C → Dm7, heard 7 times. From the Dm side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi7 (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 Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Dm7, 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

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

The song's harmonic story

The first chord is Am7; the ear learns where home is within a second. The backbone is Am7, Gm7, Dm7, C — iii7–ii7–vi7–V from the F side, v7–iv7–i7–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 C → Dm7 (V → vi7 in F, VII → i7 in Dm): Aeolian arrival — rises a whole tone into home. The final chord is Am7; 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.