Ersay Üner - Tatlım Tatlım - Chord

Key C major – A minor Chords Dm7, Em7, Am Difficulty already in its easiest key

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Capo 0

Dm7  Em7  Dm7  Em7

Dm7                           Em7
Bitti sanırım zor toplanırız bu defa
Dm7                           Em7
Belki iyi gelecektir ikimize bu veda
Dm7                       Em7
Oysa ne hayaller kuruldu aşkla, kaç fırtına duruldu 
Dm7                     Em7
Her şey bir anda unutuldu mu, bu mu

   Dm7
Ah tatlım tatlım tatlım
        Em7             Am
Bak ne yaptın, yırtıp attın sayfa sayfa
        Dm7
Dağıttın yetmedi yaktın
Em7           Dm7         Em7
Haybeden bir gerçek üstü aşktın

End of song Play again?

Ersay Üner - Tatlım Tatlım Tabs

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Harmony analysis

Ersay Üner – Tatlım Tatlım: key and chord analysis

The song opens on Dm7 and ends on Em7. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because Am is heard 1 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	9×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	9×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	—
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	1×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	1×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	9×
v7	Em7	Minor dominant — soft pull	E · G · B · D	9×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	—
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 19 times in total; 3 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

Em7 Am Ciii7 → vi Amv7 → inatural-minor cadence ×1

The move to watch is Em7 → Am, heard once. From the Am side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Em7, land on E, G, B — 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.

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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The opening Dm7 lays a solid floor for everything that follows. The backbone is Dm7, Em7, Am — ii7–iii7–vi from the C side, iv7–v7–i from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am (iii7 → vi in C, v7 → i in Am): natural-minor cadence — gentle, modal arrival. It closes on Em7, letting the C 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.