Fatih Erdemci - Suçum Değil - Chord

Key F major – D minor Chords Dm, A, Gm, C, Bbmaj7, Bb, Em7b5, C#dim … Easy key C (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Dm
Suçum değil
C
Suçum değil
Bbmaj7
Suçum değil

      Dm              
Kim bilir kaç güneş doğacak
        Em7b5
Bu hasretin üstüne
      C#dim                   Bbmaj7
Ne kadar sürer bu ayrılık böyle

     Dm
Seni de sorar mı yalnızlık
     Gm6         Am7
Aklında mı ayrılık
     Bb              Asus4     A
Razıyım herşeye severim sessizce
     Gm        G#dim7           A
Razıyım her şeye severim sessizce

   Dm           
Güneş kadar sıcak
       C
Yıldızlar kadar uzak
     Am 
Bedenim sana tutsak
      Gm
Gözlerim tenine hasret
Bb
İtirazım var
       F
Yalnızlık hakkım değil
    Gm                     A
Bu ayrılık benim suçum değil

End of song Play again?

Fatih Erdemci - Suçum Değil Tabs

NotesX

Harmony analysis

Fatih Erdemci – Suçum Değil: key and chord analysis

The song opens on Dm 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: to us the song feels closer to the D minor side because it opens on Dm, Dm is heard 4 times against 1 for F 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	1×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	3×
ii6	Gm6	Supertonic — prepares the dominant	G · Bb · D · E	1×
vii°7/iii	G#dim7	Secondary leading-tone chord vii°7/iii — leads to Amsecondary dominant	G# · B · D · F	1×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	1×
IIIsus4	Asus4	Mediant — a tonic-family shade	A · D · E	1×
iii	Am	Mediant — a tonic-family shade	A · C · E	1×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	3×
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	2×
IV	Bb	Subdominant — moves away from home	Bb · D · F	2×
V	C	Dominant — strongest pull home	C · E · G	2×
vii°/vi	C#dim	Secondary leading-tone chord vii°/vi — leads to Dmsecondary dominant	C# · E · G	1×
vi	Dm	Relative minor — the melancholy side	D · F · A	4×
viiø7	Em7b5	Leading-tone chord — tension	E · G · Bb · D	1×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	4×
iiø7	Em7b5	Supertonic — prepares the dominant	E · G · Bb · D	1×
III	F	Relative major — the bright side	F · A · C	1×
iv	Gm	Subdominant — moves away from home	G · Bb · D	3×
iv6	Gm6	Subdominant — moves away from home	G · Bb · D · E	1×
vii°7/v	G#dim7	Secondary leading-tone chord vii°7/v — leads to Amsecondary dominant	G# · B · D · F	1×
v7	Am7	Minor dominant — soft pull	A · C · E · G	1×
Vsus4	Asus4	Minor dominant — soft pull	A · D · E	1×
v	Am	Minor dominant — soft pull	A · C · E	1×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	3×
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	2×
VI	Bb	Submediant — warm colour	Bb · D · F	2×
VII	C	Subtonic — steps back to the tonic	C · E · G	2×
#vii°	C#dim	Leading-tone chord (harmonic minor)harmonic minor	C# · E · G	1×

Analysis

The key pair is F major and its relative D minor (1 flat). 14 different chords appear 24 times in total; 11 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 / C#dim is V/vi, a secondary dominant heading for Dm. G#dim7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Bbmaj7 Dm FIVmaj7 → vi DmVImaj7 → iVI → i ×2
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×1
Bb F FIV → Iplagal cadence DmVI → III ×1
Gm A Fii → V/vi Dmiv → Viv → V ×1

The move to watch is Bbmaj7 → Dm, heard 2 times. From the Dm side it is VImaj7 → i (VI → i: falls a half step into home); from the F side it reads IVmaj7 → 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 A, land on A, C#, E — 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 Asus4 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

Starting on Dm, the song gives away its key from the very first bar. The backbone is Dm, A, Gm, C — vi–V/vi–ii–V from the F side, i–V–iv–VII from the Dm side. 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 Bbmaj7 → Dm (IVmaj7 → vi in F, VImaj7 → i in Dm): VI → i — falls a half step into home. 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.

Fatih Erdemci - Suçum Değil 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.

Find something to play next

Ready-made lists by difficulty and mood.

Report error for this content report.

All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.

🎤 Fatih Erdemci Chords

🎲 Random Chords in the Key of F

View All →