Tarkan - Sorma Kalbim - Chord

Key Db major – Bb minor Chords Fm, D#, Bbm, G#, F# Easy key C (capo 1)

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Capo 0

Fm                  Bbm               G#
Sen önce tanı bil kendini sarıl da kalbine 
D#            Fm
Sonra beni sev dedi
                    Bbm                    G#
Hepimiz yalnızız bu yolda hayat denilen oyunda
D#             Fm       D#
Önce seni sonra beni bul dedi

Fm                       Bbm                 G#
Kırılma yapma kalbim darılma nedeni var her şeyin
F#              Fm
Suçlu sorumlu arama
                    Bbm                   G#           
Sorma sorma kalbim sorma bilirsin sen aslında 
F#                Fm
Yok ki kaybeden aşkta

Fm                 Bbm             G#
İçime süzülür gizlice mahsun gözyaşlarım
D#             Fm         D#
Sessiz kalırım haklı gidişine
Fm                   Bbm                 G#
Dedi ki yalnızız bu yolda ömür denilen rüyada 
D#                  Fm         D#
Sen sen ol tutsak etme aşkı zamana

End of song Play again?

Tarkan - Sorma Kalbim Tabs

NotesX

Harmony analysis

Tarkan – Sorma Kalbim: key and chord analysis

The song opens on Fm and ends on D#. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

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)

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 Bbm is heard 6 times while Db never appears. 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	—
V/V	D#	Secondary dominant V/V — leads to G#secondary dominant	D# · G · A#	7×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	10×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	F#	Subdominant — moves away from home	F# · A# · C#	2×
V	G#	Dominant — strongest pull home	G# · B# · D#	6×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	6×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	6×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	—
IV	D#	Major IV — Dorian / melodic-minor colourmodal colour	D# · G · A#	7×
v	Fm	Minor dominant — soft pull	F · Ab · C	10×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	F#	Submediant — warm colour	F# · A# · C#	2×
VII	G#	Subtonic — steps back to the tonic	G# · B# · D#	6×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 31 times in total; 4 of them sit naturally inside the shared scale. D# acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×6

The move to watch is Fm → Bbm, heard 6 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over D#, land on D#, G, A# — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, 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 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

1 semitone down · capo 1 keeps the original pitch
4 semitones up

The song's harmonic story

Starting on Fm, the song gives away its key from the very first bar. The chords that keep coming back are Fm, D#, Bbm, G#; read them as iii–V/V–vi–V in Db or v–IV–i–VII in Bbm. D# adds a moment of surprise: secondary dominant V/V — leads to G#. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. Ending on D#, the song seals Db 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.