Sefo - Tutsak - Chord

Key D major – B minor Chords Em, Bm, F#m Easy key C (capo 2)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Bm  F#m  Em  Em

Bm            F#m      Em
Gümüş gerdanında tutsaktı, ben ellerinde
     Bm                F#m
Mükemmel bir film tadında
      Em
Hatta gözlerimin önünde

               Bm  F#m
Bana göre biri var
          Em
Kabul delice
              Bm  F#m
Ona haber veriyor
          Em
O gün gelicek

Bm  F#m  Em  Em
(Hep aynı döngü devam eder)

Dilime dolandın
Dilim dile gelip, dedi "eyvah"
Bilemedi napiyim
Şu an konuşmanın ne gereği var
Göremedim saati
Akıyo geçiyo, kafa leyla (ou vou)
Tamam ama daha değil
Sanki yaşıyorum bi deneyi (ya)

Tamam sen özledin yeter
Gözlerin bana bunu söyler ya
Bu söz sana değil, genel
Olmaz olsun dersin de döner ya

Daha da neler ya başımıza
Seni ben bilirim beni sen, gidiyorsan git
Ateşini ver derdime denk
Yok merhamet hiç
Yansın tabi, kül olsun

Çare aramadım
Senden gelecek
İçime atamadım of

Gümüş gerdanında tutsaktı, ben ellerinde
Mükemmel bir film tadında
Hatta gözlerimin önünde

Bana göre biri var
Kabul delice

Onu haber veriyor
O gün gelicek

Kime ne?
Bu ne sorular
Dedikodular
Yine yorulan o
Bana ne?
Basit konular
Haset dolular
E bana zoru var
Her işin bi yolu var
Dönerim deliye ki o da biliyor

Nedir adı konulan?
Göremem önümü de 
Bunu seviyor

Benim sıkıntım inat
Sorma bana 1niye?1
Konulur tanılar
Tanrıdan hediye 
Kabul ediyorum
Yıllarım saniye gibi geçiyo
Durumumu korumam iyi
Sizin açınızdan hiç sıkıntı değil
Ne varsa kaçılan 
O başına gelir
Olursun acınan, küçümsenen biri
Kısaca deli

End of song Play again?

Sefo - Tutsak Tabs

NotesX

Harmony analysis

Sefo – Tutsak: key and chord analysis

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

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the B minor side because it opens on Bm and Bm is heard 6 times while D never appears. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii	Em	Supertonic — prepares the dominant	E · G · B	8×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	6×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	—
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	6×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	6×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iv	Em	Subdominant — moves away from home	E · G · B	8×
v	F#m	Minor dominant — soft pull	F# · A · C#	6×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	—
VII	A	Subtonic — steps back to the tonic	A · C# · E	—

Analysis

The key pair is D major and its relative B minor (2 sharps). 3 different chords appear 20 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

Em Bm Dii → vi Bmiv → iminor plagal ×5

The move to watch is Em → Bm, heard 5 times. From the Bm side it is iv → i (minor plagal: deep and melancholic); from the D side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. Em, Bm, F#m carry the song: ii–vi–iii relative to D, iv–i–v relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Bm (ii → vi in D, iv → i in Bm): minor plagal — deep and melancholic. Ending on Em, the song seals D as home.

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.