Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Ferdi Tayfur - Kurtuldum - Chord
Key Bb major – G minor Chords Dm, Eb, F, Gm, Cm, Bb, Dbm Easy key C
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Key: Bb | Gm
Capo: 0
Dm Gm Gm F F Eb Cm Dm
Dm Gm F Eb Dm
Seninle kopardık bütün bağları
Gm F
Herşey bitti artık bil bundan sonra
Dm F Eb
Kırıldı gönlümün umut dalları
Cm Eb Dm
Kendine bir sevgi bul bundan sonra
Dm Bb Dm Bb
Geçmişi bir düşün yalnız kalırsan
Eb Cm Bb Eb Dm
Maziyi hatırla zaman bulursan
Gm F Gm Cm
Neyleyim sevgilim pişman olursan
Eb Dbm Eb Dm
Başını taşlara vur bundan sonra
Gm Cm F
Kurtuldum kurtuldum senden böylece
Bb Eb Cm Dm
İbadet başlattım artık her gece
Dm Gm Cm F
Dualarla böyle mutluyum bence
Bb Eb Cm Dm
Tanrıyla aramda aşk bundan sonra
Dm Gm F Eb Dm
Bitmesin isterdim umutlarımız
Gm F
Bitmesin isterdim duygularımız
Dm F Eb
Ne çıkar sel olsa göz yaşlarımız
Cm Eb Dm
Yeniden başlamak zor bundan sonra
End of song Play again?
Ferdi Tayfur - Kurtuldum Tabs
NotesX
Harmony analysis
Ferdi Tayfur – Kurtuldum: key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because Gm is heard 10 times against 5 for Bb. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | 5× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 9× |
| biii | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 1× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 17× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 13× |
| V | F | Dominant — strongest pull home | F · A · C | 11× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 10× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 10× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 5× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 9× |
| #iv | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 1× |
| v | Dm | Minor dominant — soft pull | D · F · A | 17× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 13× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 11× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 66 times in total; 6 of them sit naturally inside the shared scale. Dbm step outside the scale as colour chords.
Chord movement
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×8
- F Bb BbV → Iauthentic cadence GmVII → III ×2
- Cm F Bbii → Vii → V Gmiv → VII ×2
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1
The move to watch is Dm → Gm, heard 8 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — 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.
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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. Dm, Eb, F, Gm carry the song: iii–IV–V–vi relative to Bb, v–VI–VII–i relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Dm; the ear comes to rest in Bb.
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.
Ferdi Tayfur - Kurtuldum Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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