Model - Değmesin Ellerimiz - Chord

Key F major – D minor Chords Dm, Gm, F, C, A, Bb Easy key C (capo 5)

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Capo 0

Gm    Dm    F    C   

Dm               A         Dm              A
Ah ne zormuş bitsin demek hala severken seni                    
Gm          Dm      Gm            A                             
Dudaklarını öpmemek bir yabancı gibi                           
Dm                A           Dm               A                 
Bilirsin ayrılık konusunda iyi değiliz ikimiz de                
Gm                      Dm      Gm            A              
Bir kıvılcım yeterdi her zaman koşup geri dönmemize                                                                  
                                                               
          Gm         Bb             Dm                           
Değmesin ellerimiz buluşmasın bu gözler                        
               Gm      Bb     Dm                            
Yine erir gideriz unutulur yeminler                             
                                                               
    Gm          Dm           F              C                   
Biz hiç beceremedik sevmeyi de terk etmeyi de                  
    Gm         Dm             F          C                     
Aşk kokan dudakların karşısında direnmeyi de                   
   Gm           Dm           F              C                                     
Biz hiç beceremedik sevmeyi de terk etmeyi de                  
 Gm             Dm           F            C                    
Aşk dolu mısraların karşısında direnmeyi de


Dm          A      Dm         A
İşte bir kez daha durup karşında
Gm       Dm       Gm         A
Belki de son defa soruyorum sana  


            Gm      Bb               Dm
Bitti mi hikayemiz, bu ne biçim son böyle?
                Gm         Bb        Dm
Değmez miydi sevgimiz savaşıp direnmeye?
          Gm          Bb          Dm
Değmesin ellerimiz buluşmasın bu gözler
             Gm         Bb      Dm
Yine erir gideriz unutulur yeminler     

    Gm          Dm           F              C  
Biz hiç beceremedik sevmeyi de terk etmeyi de
    Gm         Dm             F          C  
Kendimize sahip çıkıp dünyayla yüzleşmeyi de
   Gm           Dm           F              C  
Biz hiç beceremedik sevmeyi de terk etmeyi de
 Gm             Dm           F            C     
Korktuğumuz o gözlerin karşısında direnmeyi de
            Dm
Bitmesin hikayemiz

End of song Play again?

Model - Değmesin Ellerimiz Tabs

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Harmony analysis

Model – Değmesin Ellerimiz: key and chord analysis

The song opens on Gm 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)
#7 = C# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it comes to rest on Dm, Dm is heard 25 times against 9 for F and the major V chord points straight at Dm. 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	9×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	21×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	9×
IV	Bb	Subdominant — moves away from home	Bb · D · F	6×
V	C	Dominant — strongest pull home	C · E · G	9×
vi	Dm	Relative minor — the melancholy side	D · F · A	25×
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	25×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	9×
iv	Gm	Subdominant — moves away from home	G · Bb · D	21×
v	Am	Minor dominant — soft pull	A · C · E	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	9×
VI	Bb	Submediant — warm colour	Bb · D · F	6×
VII	C	Subtonic — steps back to the tonic	C · E · G	9×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 79 times in total; 5 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm.

Chord movement

Gm Dm Fii → vi Dmiv → iminor plagal ×12
Bb Dm FIV → vi DmVI → iVI → i ×6
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×4
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×3
Gm A Fii → V/vi Dmiv → Viv → V ×3

The move to watch is Gm → Dm, heard 12 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.

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 opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Dm, Gm, F, C; read them as vi–ii–I–V in F or i–iv–III–VII in Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. It closes on Dm, letting the Dm 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.