Tan Taşçı - Kalbime Gömüyorum - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Am                                    Dm    Bb    Dm
Sana bir şarkı daha yapacağım, adı unuttum seni olacak
                          Am       Cm             Bb     Am
Belki de kimseleri aramıyorum, Tanrım bu yaraları kim saracak        

Gm                 C          F            Bb 
Karşımda resmin duruyor, günlerim sensiz geçiyor
     Gm                        Bb       C
Bir ömür böyle nasıl sürecek, dayanamıyorum
Gm                     C       F               Bb
Zaman nasıl hızlı geçiyor, gözlerim dolu dolu oluyor
Gm                Cm     Bb    Am
Saatlerce seni izlemeye doyamıyorum

        Dm 
Şimdi kalbimi mi beynimi mi dinleyeyim
Bb
Anlamadım ki ben şimdi neyleyim
Am                          C
Seni çıkarıp içimden atamıyorum
Dm
Hayır hayır ama artık olmaz
Am             
Bundan böyle yerin dolmaz
       Cm         Bb     Am
Seni çaldığın kalbime gömüyorum

End of song Play again?

Tan Taşçı - Kalbime Gömüyorum Tabs

NotesX

Harmony analysis

Tan Taşçı – Kalbime Gömüyorum: key and chord analysis

The song opens on Am and ends on Am. 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 4 times against 2 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	2×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	4×
iii	Am	Mediant — a tonic-family shade	A · C · E	7×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	8×
V	C	Dominant — strongest pull home	C · E · G	4×
v	Cm	Chromatic colour chordoutside the key	C · Eb · G	3×
vi	Dm	Relative minor — the melancholy side	D · F · A	4×
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	4×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	2×
iv	Gm	Subdominant — moves away from home	G · Bb · D	4×
v	Am	Minor dominant — soft pull	A · C · E	7×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	8×
VII	C	Subtonic — steps back to the tonic	C · E · G	4×
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	3×

Analysis

The key pair is F major and its relative D minor (1 flat). 7 different chords appear 32 times in total; 6 of them sit naturally inside the shared scale. Cm step outside the scale as colour chords.

Chord movement

C F FV → Iauthentic cadence DmVII → III ×2
Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
Gm C Fii → Vii → V Dmiv → VII ×2
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
Bb Dm FIV → vi DmVI → iVI → i ×1
Bb C FIV → VIV → V DmVI → VIIVI → VII ×1

The move to watch is C → F, heard 2 times. From the Dm side it is VII → III; from the F side it reads V → I (authentic cadence: the strongest arrival home). 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 Am, 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
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening Am lays a solid floor for everything that follows. The backbone is Bb, Am, Dm, Gm — IV–iii–vi–ii from the F side, VI–v–i–iv 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 → F (V → I in F, VII → III in Dm): authentic cadence — the strongest arrival home. It closes on Am, letting the F 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.