Kenan Doğulu - Tutamıyorum Zamanı - Chord

Key Db major – Bb minor Chords Bbm, Ebm, Cm, F, Bb, F# Easy key C (capo 1)

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Capo 0

Bbm                                                    
İnadına yenilmeden aşık olmadan gel
                        Bb          Ebm
Bu gidişin sonu kötü kalbi kaybetme gel
                                 
Siyahını bırak da gel derdi sil yeter
F#                    
Aşka zulmedip küsmesen yeter
Cm                        F
Şafağım kararır daralır geceler    

Bbm                                                              
Yerine hiç beni koyup sarhoş oldun mu sen?
                          Bb        Ebm
Kaderine boyun eğip düne küstün mü sen?
                                 
Yüreğine cayır cayır kor çile saçıp
F#                        
Göz göre göre korku saklayıp
Cm                          F
Boğazına gömülüp sustun mu hiç?    

Bbm                Ebm
Kal gittiğin yerde mutlu ol
           Cm   F             Bbm
Ya da gel kalbimde tahta sahip ol
      Bbm                            Ebm
Senin gülen yüzüne kurban bu serseri kalbim
        Cm    F             Bbm
Ama karar ver tutamıyorum zamanı

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Harmony analysis

Kenan Doğulu – Tutamıyorum Zamanı: key and chord analysis

The song opens on Bbm and ends on Bbm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)
#7 = A (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 Bb minor side because it both starts and finishes on Bbm, Bbm is heard 6 times while Db never appears and the major V chord points straight at Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	4×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	4×
IV	F#	Subdominant — moves away from home	F# · A# · C#	2×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	6×
V/ii	Bb	Secondary dominant V/ii — leads to Ebmsecondary dominant	Bb · D · F	2×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	4×

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	6×
V/iv	Bb	Secondary dominant V/iv — leads to Ebmsecondary dominant	Bb · D · F	2×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
ii	Cm	Chromatic colour chordoutside the key	C · Eb · G	4×
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	4×
v	Fm	Minor dominant — soft pull	F · Ab · C	—
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	4×
VI	F#	Submediant — warm colour	F# · A# · C#	2×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	—

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 22 times in total; 3 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F is V/vi, a secondary dominant heading for Bbm. Bb acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×4

The move to watch is F → Bbm, heard 4 times. From the Bbm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Db side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
When F comes, swap the scale's Ab for A: 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
4 semitones up

The song's harmonic story

The first chord is Bbm; the ear learns where home is within a second. The backbone is Bbm, Ebm, Cm, F — vi–ii–vii–V/vi from the Db side, i–iv–ii–V from the Bbm side. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → Bbm (V/vi → vi in Db, V → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Bbm; the ear comes to rest in Bbm.

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.