Seksendört - Dokunma - Chord

Key Db major – Bb minor Chords Bbm, Ab, Gb, Ebm, Db, Fm Easy key G (capo 6)

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Capo 0

 Bbm  Gb   Bbm  Gb       Ab     Ebm
Dokun ma  dokun ma  kırılır kalbim dokunma
 Db   Ab  Fm         Ab   Bbm
Kırma kırma   seven kalbimi kırma
      Gb    Bbm  Gb       Ab     Ebm
Dokunma    dokunma   ben yaralı bir gönülüm
  Db    Ab   Fm        Ab     Bbm  
Vurupta kırıpta   kanatıp cana dokunma

  Bbm      Gb
Anlaşmak bir bakış
   Ab     Ebm      Bbm
Bazen de seviyorum demektir
            Gb  
Anlaşmak bir gülüş
   Ab    Ebm       Bbm
Bazen de bir özür dilemektir
    Gb      Ab  
Zor değil zor değil
        Bbm     Ebm
Seviyorum seni derken bana
     Bbm  
Özür dilemek
        Gb   Bbm  Gb     Ab   Ebm
Konuşma     konuşma   düşünmeden konuşma
  Db   Ab  Fm        Ab     Bbm  
Kırma  kırma   incitip beni kırma

Bbm  Gb    Bbm  Gb       Ab    Ebm 
Unut ma  unutma bu günün yarınları da var
Db   Ab  Fm          Ab    Bbm
Hep sevdi   sevecek deyip kendini avutma
      Gb   Bbm  Gb        Ab    Ebm
Darılma darılma seven seveni affedermiş
Db    Ab  Fm      Ab   Bbm 
Darılma darılma hemen nefrete sarılma

Bbm     Gb
Dünyada en zor şey
 Ab      Ebm      Bbm
Kırılan bir kalbi onarmaktır
            Gb
İnsana yakışan
 Ab     Ebm      Bbm
İnsanca yaşayıp var olmaktır
 Gb      Ab
Zor değil zor değil
   Bbm     Ebm       Bbm
Seviyorum derken bana özür dilemek
      Gb   Bbm Gb      Ab    Ebm
Konuşma konuş  ma  düşünmeden konuşma
Db   Ab  Fm      Ab   Bbm
Kırma kırma seven gönlümü kırma

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Seksendört - Dokunma Tabs

NotesX

Harmony analysis

Seksendört – Dokunma: key and chord analysis

The song opens on Bbm and ends on Bbm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it both starts and finishes on Bbm and Bbm is heard 24 times against 6 for Db. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	6×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	12×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	6×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	18×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	24×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	24×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	24×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	6×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	12×
v	Fm	Minor dominant — soft pull	F · Ab · C	6×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	18×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	24×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 90 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

Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×12
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×8
Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×6
Gb Bbm DbIV → vi BbmVI → iVI → i ×6

The move to watch is Gb → Ab, heard 12 times. From the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Gb, land on Gb, Bb, Db — 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The opening Bbm lays a solid floor for everything that follows. Bbm, Ab, Gb, Ebm carry the song: vi–V–IV–ii relative to Db, i–VII–VI–iv relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Ab (IV → V in Db, VI → VII in Bbm): VI → VII — the rising step that heads for the tonic. It closes on Bbm, letting the Bbm side have the last word.

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.