Sufle - Elalemci - Chord

Key F major – D minor Chords A, Bb, Gm, F Easy key C (capo 5)

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Capo 0

A  Bb  Gm  A  Bb  Gm

A            Bb    Gm
Tutkun içimde taze taze
A           Bb    Gm
Gönlün olmuş pare pare
Bb                   Gm
Başka yerlerde arama çare
A
Özünü bilirim ben

A             Bb   Gm
Millet alışmış karabasanda
A                Bb    Gm
Hepsi bir şey der sormasan da
Bb                 Gm
Açtığın kapı kapamasan da
A
Yine çalarım ben

A          Gm
Aşığın sazı gelmez dile
F              A  Bb     A
Ne derler diye bundan böyle

A         Bb     Gm
Elalemci artık kendine bak
A            Bb    Gm
Hadi susma sen de ver bi cevap
Bb                Gm
Ayıp olsun olsun be ne olur
A
Başımız dik hem de alnımız ak

A            Bb     Gm
Bu dünyaya bir kere gelmedik mi
A              Bb     Gm
Bir lokma bir hırka yetmedi mi
Bb                Gm
Ayıp olsun olsun be ne olur
A
Bize kimse gül vadetmedi ki

End of song Play again?

Sufle - Elalemci Tabs

NotesX

Harmony analysis

Sufle – Elalemci: key and chord analysis

The song opens on A and ends on A. 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)
#7 = C# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between F major and D minor because F is heard 1 times while Dm never appears and the major V chord points straight at Dm. Try reading the chords both ways and see which feels more like home to you.

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	1×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	15×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
III	A	Chromatic colour chordoutside the key	A · C# · E	17×
IV	Bb	Subdominant — moves away from home	Bb · D · F	15×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	—
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	—
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
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	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	17×
VI	Bb	Submediant — warm colour	Bb · D · F	15×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 48 times in total; 3 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull.

Chord movement

Gm A Fii → III Dmiv → Viv → V ×10

The move to watch is Gm → A, heard 10 times. From the F side it reads ii → III; from the Dm side it is iv → V (iv → V: the minor side's tension builder). 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 A, 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.
When A comes, swap the scale's C for C#: 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 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 opening A lays a solid floor for everything that follows. The chords that keep coming back are A, Bb, Gm, F; read them as III–IV–ii–I in F or V–VI–iv–III in Dm. A is the interesting twist: in F it is a chromatic chord (III), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Gm → A (ii → III in F, iv → V in Dm): iv → V — the minor side's tension builder. It closes on A, 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.