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)
Melike Şahin - Sağ Salim - Chord
Key F major – D minor Chords Bb, Gm, Am, Dm, Em, Edim, C, F Easy key G
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Key: F | Dm
Capo: 0
Am Bb Gm F Em
Am Bb Gm Am
Am
Buna nasıl dayandı?
Bb
Yüreğim dikenlerin ucunda
Gm
Geceler döner deli başımda
Dm
Uyumam haram bana düşüm de
Am
Sana nasıl inandım?
Bb
Bilirim cevabını yorulma
Gm
Bir yanıyla buz gibi muamma
Bb
Bir yanım da yanar adın geçince
Dm Bb Gm Am
Belki geldi işime sen düşünce avutmak
Dm Bb Gm Am
Belli gitti gücüne küllerimden doğrulmam
Dm Gm
Yaralar benim, kanar hep derin
Dm Edim
Suların dibinden göğe yükseldim
Dm C
Boğuldum ölmedim, bana el vermedin
Bb Gm
O kara delikten çıktım sağ salim
Am Bb Gm Em
Am
Bana biraz huzur ver
Bb
Duramam ki hep yürek ağızda
Gm
Avucumda koskoca bir orman
Bb
Varacağım oraya namluna rağmen
Am
Hadi biraz cesaret
Bb
Hadi gel de vur yine sıkıysa
Gm
Bu sefer içinde bir telaş var
Bb
Biliyorsun korku yok içimde
Dm Bb Gm Am
Belki geldi işime sen düşünce avutmak
Dm Bb Gm Am
Belli gitti gücüne küllerimden doğrulmam
Dm Gm
Yaralar benim, kanar hep derin
Dm Edim
Suların dibinden göğe yükseldim
Dm C
Boğuldum ölmedim, bana el vermedin
Bb Gm
O kara delikten çıktım sağ salim
End of song Play again?
Melike Şahin - Sağ Salim Tabs
NotesX
Harmony analysis
Melike Şahin – Sağ Salim: key and chord analysis
The song opens on Am and ends on Gm. 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 D minor side because Dm is heard 11 times against 1 for F. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 1× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 15× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 12× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 16× |
| V | C | Dominant — strongest pull home | C · E · G | 2× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 11× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | 2× |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 11× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | 2× |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
| III | F | Relative major — the bright side | F · A · C | 1× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 15× |
| v | Am | Minor dominant — soft pull | A · C · E | 12× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 16× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 2× |
Analysis
The key pair is F major and its relative D minor (1 flat). 8 different chords appear 61 times in total; 7 of them sit naturally inside the shared scale. Em step outside the scale as colour chords.
Chord movement
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×4
- Gm Dm Fii → vi Dmiv → iminor plagal ×3
- Bb Dm FIV → vi DmVI → iVI → i ×2
The move to watch is Am → Dm, heard 4 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → 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 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.
- Over Am, land on A, C, E — 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 Am lays a solid floor for everything that follows. The backbone is Bb, Gm, Am, Dm — IV–ii–iii–vi from the F side, VI–iv–v–i from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. The final chord is Gm; the ear comes to rest in F.
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.
Melike Şahin - Sağ Salim 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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Lyrics: Melike ŞahinMusic: Melike Şahin
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