Tarkan - Dudu - Chord

Key C major – A minor Chords Am, Dm, G, E, C, A, Bm, F … Difficulty already in its easiest key

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Capo 0

Am  Dm  G  Am

Am        F             C                 E
Ağlamadan ayrılık olmaz hatıralar uslu durmaz
Am              F             C                 E
Kalanlar gideni gönlünde taşır aşk sevene yük olmaz
                          Am
Biz böyle bilir böyle yaşarız

Am  Dm  G  E          Am      Dm  G  E          Am
Oo   oooo    o da biliyor, oo  oooo    o da seviyor
   Dm  G  C                  F   
Oo  oooo  bile bile kafa tutuyor aşka
       E                      Am
Gözü kara o yine bildiğini okuyor

Am                 Dm                   G              Am
Çiçek gibi tazecik kıymetli bir tanecik anasütü gibi tertemiz
                  Dm                 G             Am
Dudu dudu dilleri lıkır lıkır içmeli gözleri derya deniz

Am           F              C                 E
Bu gönül ona torpil geçiyor etrafında fır dönüyor
Am       F              C                        E
El bebek gül bebektir o ne yapsa inadına hoş görüyor
                   Am
Kara kara düşündürüyor

Am  Dm  G  E          Am      Dm  G  E          Am
Oo   oooo    o da biliyor, oo  oooo    o da seviyor
   Dm  G  C                  F   
Oo  oooo  bile bile kafa tutuyor aşka
       E                      Dm
Gözü kara o yine bildiğini okuyor

Bb          C       A              Dm
 Sen güldüğüme bakma gör de duy da inanma
Bb         C             A       Dm
 Tuz buz oldu bu kalp ah onbin parça
Bb           C       A           G
 Aldığım her nefeste attığım her adımda
        E                           Am
Burada olsa ah cancağazım yanımda olsa

Am                 Dm                   G              Am
Çiçek gibi tazecik kıymetli bir tanecik anasütü gibi tertemiz
                  Dm                 G             Am
Dudu dudu dilleri lıkır lıkır içmeli gözleri derya deniz

Am
Ata ata dertleri hep içime attım, insan gibi yaşamak benim de hakkım
İçimdeki zemberek kırıldı artık, tamiri mümkün değil ise işte o gün yandık
Hergün yağmur yağabilir, herkes hata yapabilir
Birbirimize tutunursak, belki güneş doğabilir

Bm  Em  A  F#         Bm      Em  A  F#         Bm
Oo   oooo    o da biliyor, oo  oooo    o da seviyor
   Em  A  D                  G   
Oo  oooo  bile bile kafa tutuyor aşka
       F#                     Bm
Gözü kara o yine bildiğini okuyor

Bm  Em  A  Bm

Bm                 Em                   A              Bm
Çiçek gibi tazecik kıymetli bir tanecik anasütü gibi tertemiz
                  Em                 A             Bm
Dudu dudu dilleri lıkır lıkır içmeli gözleri derya deniz

End of song Play again?

Tarkan - Dudu Tabs

NotesX

Harmony analysis

Tarkan – Dudu: key and chord analysis

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

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it opens on Am, Am is heard 23 times against 9 for C and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	9×
ii	Dm	Supertonic — prepares the dominant	D · F · A	14×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	1×
iii	Em	Mediant — a tonic-family shade	E · G · B	6×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	11×
IV	F	Subdominant — moves away from home	F · A · C	6×
#IV	F#	Chromatic colour chordoutside the key	F# · A# · C#	3×
V	G	Dominant — strongest pull home	G · B · D	13×
vi	Am	Relative minor — the melancholy side	A · C · E	23×
V/ii	A	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	9×
bVII	Bb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Bb · D · F	3×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
vii	Bm	Chromatic colour chordoutside the key	B · D · F#	9×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	23×
V/iv	A	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	9×
bII	Bb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Bb · D · F	3×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
ii	Bm	Chromatic colour chordoutside the key	B · D · F#	9×
III	C	Relative major — the bright side	C · E · G	9×
iv	Dm	Subdominant — moves away from home	D · F · A	14×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	1×
v	Em	Minor dominant — soft pull	E · G · B	6×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	11×
VI	F	Submediant — warm colour	F · A · C	6×
#VI	F#	Chromatic colour chordoutside the key	F# · A# · C#	3×
VII	G	Subtonic — steps back to the tonic	G · B · D	13×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 12 different chords appear 107 times in total; 6 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am. A, D act as secondary dominants, briefly pointing at another chord of the key. Bb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Dm G Cii → Vii → V Amiv → VII ×11
E Am CV/vi → vi AmV → iharmonic-minor cadence ×10
G Am CV → videceptive cadence AmVII → iAeolian arrival ×5
F C CIV → Iplagal cadence AmVI → III ×4
Bb C CbVII → IbVII → I AmbII → III ×3
G C CV → Iauthentic cadence AmVII → III ×2

The move to watch is Dm → G, heard 11 times. From the Am side it is iv → VII; from the C side it reads ii → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — 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.
When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
On Bb, follow the chord's notes (Bb · D · F) rather than the key's scale — it's a borrowed colour.

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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is Am; the ear learns where home is within a second. The chords that keep coming back are Am, Dm, G, E; read them as vi–ii–V–V/vi in C or i–iv–VII–V in Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. It closes on Bm, letting the C 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.