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)
Orhan Gencebay - Dokunma - Chord
Key Db major – Bb minor Chords A#m, G#, F#, D#m, C#, Fm Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
A#m F# A#m F# G# D#m
Dokun ma dokun ma kırılır kalbim dokunma
C# G# Fm G# A#m
Kırma kırma seven kalbimi kırma
A#m F# A#m F# G# D#m
Dokunma dokunma ben yaralı bir gönülüm
C# G# Fm G# A#m
Vurupta kırıpta kanatıp cana dokunma
A#m F#
Anlaşmak bir bakış
G# D#m A#m
Bazen de seviyorum demektir
A#m F#
Anlaşmak bir gülüş
G# D#m A#m
Bazen de bir özür dilemektir
F# G#
Zor değil zor değil
A#m D#m
Seviyorum seni derken bana
A#m
Özür dilemek
A#m F# A#m F# G# D#m
Konuşma konuşma düşünmeden konuşma
C# G# Fm G# A#m
Kırma kırma incitip beni kırma
A#m F# A#m F# G# D#m
Unut ma unutma bu günün yarınları da var
C# G# Fm G# A#m
Hep sevdi sevecek deyip kendini avutma
A#m F# A#m F# G# D#m
Darılma darılma seven seveni affedermiş
C# G# Fm G# A#m
Darılma darılma hemen nefrete sarılma
A#m F#
Dünyada en zor şey
G# D#m A#m
Kırılan bir kalbi onarmaktır
A#m F#
İnsana yakışan
G# D#m A#m
İnsanca yaşayıp var olmaktır
F# G#
Zor değil zor değil
A#m D#m A#m
Seviyorum derken bana özür dilemek
A#m F# A#m F# G# D#m
Konuşma konuş ma düşünmeden konuşma
C# G# Fm G# A#m
Kırma kırma seven gönlümü kırma
End of song Play again?
Orhan Gencebay - Dokunma Tabs
NotesX
Harmony analysis
Orhan Gencebay – Dokunma: key and chord analysis
The song opens on A#m and ends on A#m. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
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 and Bbm is heard 30 times against 6 for Db. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C# | Tonic — home | C# · E# · G# | 6× |
| ii | D#m | Supertonic — prepares the dominant | D# · F# · A# | 12× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 6× |
| V/vi | F | Secondary dominant V/vi — leads to A#msecondary dominant | F · A · C | — |
| IV | F# | Subdominant — moves away from home | F# · A# · C# | 18× |
| V | G# | Dominant — strongest pull home | G# · B# · D# | 24× |
| vi | A#m | Relative minor — the melancholy side | A# · C# · E# | 30× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | A#m | Tonic — home | A# · C# · E# | 30× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | C# | Relative major — the bright side | C# · E# · G# | 6× |
| iv | D#m | Subdominant — moves away from home | D# · F# · A# | 12× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 6× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | F# | Submediant — warm colour | F# · A# · C# | 18× |
| VII | G# | Subtonic — steps back to the tonic | G# · B# · D# | 24× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 96 times in total; 6 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
- F# G# DbIV → VIV → V BbmVI → VIIVI → VII ×12
- G# A#m DbV → videceptive cadence BbmVII → iAeolian arrival ×8
- D#m A#m Dbii → vi Bbmiv → iminor plagal ×6
- F# A#m DbIV → vi BbmVI → iVI → i ×6
The move to watch is F# → G#, heard 12 times. From the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IV → V (IV → V: the lift that builds tension before home). 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 A#m, land on A#, C#, E# — the chord's own tones always sound right on strong beats.
- Over G#, land on G#, B#, D# — the chord's own tones always sound right on strong beats.
- Over F#, 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 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening A#m lays a solid floor for everything that follows. The chords that keep coming back are A#m, G#, F#, D#m; read them as vi–V–IV–ii in Db or i–VII–VI–iv in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F# → G# (IV → V in Db, VI → VII in Bbm): VI → VII — the rising step that heads for the tonic. The final chord is A#m; 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.
Orhan Gencebay - Dokunma 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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