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)
Tarkan - Kedi Gibi - Chord
Key F major – D minor Chords Am, Bb, Gm, C, F Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am Bb
Gel, vur tam on ikiden öyle bir gel ki
Am
Bir anda oynasın yer yerinden
Bb
Gel, sensiz anlamı yok, ne çok özledim ne çok
Am
O tatlı telaşı bir bilsen
Gm C F Gm
Al, uçur kanatlarında
Bb C Am
Seyre çıkalım o kızıl ufuklarda
Am
Hadi aşk beni çağır da yanına
Am
Kedi gibi sokulayım sıcağına
Am
Beni sar, sarmala da sonra
Bb
At, at kuytularına at emi
Am
Hazırım, razıyım dünden
Am
Varım her şeyine senin ben
Am
Beni korlara ver istersen
Bb
Yak, yakacaksan sen yak beni
Am Bb
Gel, gel de kavuşalım renk renk gökkuşaklarından
Am
Hayallere yelken açalım
Bb
Gel, tut ki elimden aşk kokulu çiçekli kırlardan
Am
Masallara koşalım
Gm C F Gm
Al, uçur kanatlarında
Bb C Am
Seyre çıkalım o kızıl ufuklarda
Am
Hadi aşk beni çağır da yanına
Am
Kedi gibi sokulayım sıcağına
Am
Beni sar, sarmala da sonra
Bb
At, at kuytularına at emi
Am
Hazırım, razıyım dünden
Am
Varım her şeyine senin ben
Am
Beni korlara ver istersen
Bb
Yak, yakacaksan sen yak beni
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Tarkan - Kedi Gibi Tabs
NotesX
Harmony analysis
Tarkan – Kedi Gibi: key and chord analysis
The song opens on Am and ends on Bb. Its chords belong to both F major and Dm, so every chord below is read both ways.
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 F major side because F is heard 2 times while Dm never appears. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
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.
| 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 | 20× |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 10× |
| V | C | Dominant — strongest pull home | C · E · G | 4× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| 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 | 20× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 10× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 4× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 40 times in total; 5 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
- C F FV → Iauthentic cadence DmVII → III ×2
- Gm C Fii → Vii → V Dmiv → VII ×2
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
The move to watch is C → F, heard 2 times. From the F side it reads V → I (authentic cadence: the strongest arrival home); from the Dm side it is VII → III. 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — 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.
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 first chord is Am; the ear learns where home is within a second. Am, Bb, Gm, C carry the song: iii–IV–ii–V relative to F, v–VI–iv–VII relative to Dm. 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 Bb, 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.
Tarkan - Kedi Gibi 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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