Tan Taşçı - Rica Ederim - Chord

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

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Capo 0

        Dm             A
İnanmıyorum nasıl ayrıldık
          Bb              A
Kime aldandık, kara sevdaydık
                  Dm                   
Biz seninle dağlara ferman
           Gm              Bb
Dillere destan ellere hüsran

            Dm             A
İçime sığmıyor derdim kederim
    Dm            A
Özledim yemin ederim
       Gm         Bb
Bilsen nasıl çarpıyor
         Gm     A
Yüreğim de ellerim

         Dm
Sevgilim bitti bu aşk

Hoşçakal diyorsun olsun
A
Dağ gibi çeker giderim
  
Üzüntü yaratma
Gm       
Ömrümü verdim yollarına serdim diye
Bb            Gm       A
Hiç önemi yok rica ederim

       Dm
Bekliyorum sabah olur mu
A              Bb       A
Kapı çalar mı beni arar mı
              Dm             
Biz onunla dağlara ferman
           Gm           Bb
Dillere destan ellere hüsran

End of song Play again?

Tan Taşçı - Rica Ederim Tabs

NotesX

Harmony analysis

Tan Taşçı – Rica Ederim: key and chord analysis

The song opens on Dm and ends on Bb. 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: to us the song feels closer to the D minor side because it opens on Dm, Dm is heard 7 times while F never appears and the major V chord points straight at Dm. 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	6×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	9×
IV	Bb	Subdominant — moves away from home	Bb · D · F	6×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	7×
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	7×
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	6×
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	9×
VI	Bb	Submediant — warm colour	Bb · D · F	6×
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 28 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; seen from F, the same A is V/vi, a secondary dominant heading for Dm.

Chord movement

A Dm FV/vi → vi DmV → iharmonic-minor cadence ×5
Gm A Fii → V/vi Dmiv → Viv → V ×2
Bb Dm FIV → vi DmVI → iVI → i ×1

The move to watch is A → Dm, heard 5 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → 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 A, 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 Bb, land on Bb, D, F — 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 first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are A, Dm, Bb, Gm; read them as V/vi–vi–IV–ii in F or V–i–VI–iv in Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Bb; 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.