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 - Tutuşmuş Beraber - Chord
Key F major – D minor Chords Dm, C, Bb, Am, Gm Easy key G
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Key: F | Dm
Capo: 0
Dm C
Sen yine bildiğin gülü kokla
Bb Gm Am
Benim çoktan günüm belli
Dm C
Hem annem hem babam sendin
Bb Gm Am Bb
Böyle ufalanma merhem elindeydi
Dm Am
Gelmedi elimden
Dm Am
Dökülemedi inan dilimden
Dm C
Susuyorsam bir bildiğimden
Bb C
Sevdiğimden, gördüğümden
C Dm
Tutuşmuş beraber
C Dm
Ellerimiz yangın ezelden
C Dm
Gidiyorsam çok sevmekten
Bb Am
Yanmaktan, ölmekten
Dm
Bir dermanı çok görüp de
Bb Gm Am
Boynu büküp gittin içe sinip de
Dm
Ayağımdan kaydı gitti
Bb Gm Am Bb
Toprağım sendin, depremim de
Dm Am
Gelmedi elimden
Dm Am
Dökülemedi inan dilimden
Dm C
Susuyorsam bir bildiğimden
Bb C
Sevdiğimden, gördüğümden
C Dm
Tutuşmuş beraber
C Dm
Ellerimiz yangın ezelden
C Dm
Gidiyorsam çok sevmekten
Bb Am
Yanmaktan, ölmekten
End of song Play again?
Melike Şahin - Tutuşmuş Beraber Tabs
NotesX
Harmony analysis
Melike Şahin – Tutuşmuş Beraber: key and chord analysis
The song opens on Dm and ends on Am. 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 it opens on Dm and Dm is heard 16 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 4× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 10× |
| 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 | 12× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 16× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 16× |
| 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 | 4× |
| v | Am | Minor dominant — soft pull | A · C · E | 10× |
| 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 | 12× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 52 times in total; 5 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
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×7
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×6
- Bb Dm FIV → vi DmVI → iVI → i ×2
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
The move to watch is Am → Dm, heard 7 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 Dm, land on D, F, A — 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.
- Over Bb, land on Bb, D, F — 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 Dm lays a solid floor for everything that follows. The chords that keep coming back are Dm, C, Bb, Am; read them as vi–V–IV–iii in F or i–VII–VI–v in Dm. 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. Ending on Am, the song seals F 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.
Melike Şahin - Tutuşmuş Beraber 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
Can Kandaz
Can Kandaz
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