Can Bonomo - Tarzım Değil - Chord

Key F major – D minor Chords Dm, Bb, C, Gm Easy key G

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Capo 0

Bb                      Gm
İşte bu gitarım bu da sesim
Dm
Hiç bitmez anlatmak hevesim
Bb               Gm                  Dm
Sadece gündüz uyurum değişir mi bu huyum

Hiç sabit kalmaz adresim

Dm
Sanki binalar sokaklar benim
Bb                Gm
Herkes yürüse dururum
                 Dm
Ne olacak bu gururum

Kırılmaz asla hevesim

Bb
Gelsin üstüme şehirler
Gm
Korkup kaçmak beni zehirler
Dm
Ben yenilmem ben yenilmem
C
Tarzım değil

Bb
Solsun kalbimdeki çiçekler
Gm
Çaksın üzerime şimşekler
Dm
Ben bükülmem ben bükülmem
C
Mümkün değil

Dm                                    C
Girdi mi kafama çeker canım azar azar uçmak uzaklara herkesten
Dm                           C
Durdum battı kudurdum keyfim çek de çıkar beni merkezden
Dm               C       Dm            C
Dün gece düşümde kuştum, düştüm düştüm uçtum
Dm    C       Dm    C     Bb         Dm
Ben yenilmem, ben yenilmem, tarzım değil

Bb  Gm  Dm  C  Bb  Gm  Dm  C

Bb                      Gm
İşte bu gitarım bu da sesim
Dm
Bazen göğsüme sığmaz nefesim
Bb                     Gm
Her güne yeni dert bulurum
                  Dm
Sarsmaz beni bu durum

Dünya bozar ben çözerim

End of song Play again?

Can Bonomo - Tarzım Değil Tabs

NotesX

Harmony analysis

Can Bonomo – Tarzım Değil: key and chord analysis

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

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)

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 D minor side because it comes to rest on Dm and Dm is heard 17 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	9×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	10×
V	C	Dominant — strongest pull home	C · E · G	10×
vi	Dm	Relative minor — the melancholy side	D · F · A	17×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	17×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	9×
v	Am	Minor dominant — soft pull	A · C · E	—
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	10×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 46 times in total; 4 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

Gm Dm Fii → vi Dmiv → iminor plagal ×9
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×6
Bb Dm FIV → vi DmVI → iVI → i ×1

The move to watch is Gm → Dm, heard 9 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → vi. 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 Dm, land on D, F, A — 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 C, land on C, E, G — 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

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

The song's harmonic story

The opening Bb lays a solid floor for everything that follows. Dm, Bb, C, Gm carry the song: vi–IV–V–ii relative to F, i–VI–VII–iv relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. Ending on Dm, the song seals Dm 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.