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)
Dolu Kadehi Ters Tut - Çöpçatan - Chord
Key F major – D minor Chords Csus2, Dsus2, Dm, F, Em, G, Ab, A Difficulty already in its easiest key
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Key: F | Dm
Capo: 0
Dm Kabul etmek gerek, bu farklı bir yetenek aslında Aşk doktoru sanki, çözer hemen o işi anında Dokunuşu, bakışı, duruşu çok özel işini yaptığında Acaba koşacak mı benim yardım çağrılarıma F Bile bile mi yapıyor, beni ona savunuyor Em Sağa sola bakınıyor, kulağına gömülüyor G Sana beni soruyor mu, bana seni soruyor Ab A Ve beni ona övüyor ve onu bana övüyor Csus2 Dsus2 Csus2 Dsus2 Csus2 Beni ona övüyor ve onu bana övüyor hep O bir çöpçatan Csus2 Dsus2 Csus2 Dsus2 Csus2 Onu bana övüyor ve beni ona övüyor hep Aşk doktoru Csus2 Dsus2 Csus2 Dsus2 Csus2 Beni ona övüyor ve onu bana övüyor hep Ara buluculuk Csus2 Dsus2 Csus2 Dsus2 Csus2 Onu bana övüyor ve beni ona övüyor hep Dm Mesut olmak gerek bu yaptığı çok kıyak aslında Çöpçatanlık seviyesinin hayli yukarısında O konuları yorumları ve sorularıyla bambaşka Geleceğim belki onun ellerindedir şu anda F Bile bile mi yapıyor, beni ona savunuyor Em Sağa sola bakınıyor, kulağına gömülüyor G Sana beni soruyor mu, bana seni soruyor Ab A Ve beni ona övüyor ve onu bana övüyor Csus2 Dsus2 Csus2 Dsus2 Csus2 Beni ona övüyor ve onu bana övüyor hep O bir çöpçatan Csus2 Dsus2 Csus2 Dsus2 Csus2 Onu bana övüyor ve beni ona övüyor hep Aşk doktoru Csus2 Dsus2 Csus2 Dsus2 Csus2 Beni ona övüyor ve onu bana övüyor hep Ara buluculuk Csus2 Dsus2 Csus2 Dsus2 Csus2 Onu bana övüyor ve beni ona övüyor hep
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Dolu Kadehi Ters Tut - Çöpçatan Tabs
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Harmony analysis
Dolu Kadehi Ters Tut – Çöpçatan: key and chord analysis
The song opens on Dm and ends on Csus2. 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)
- #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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 2× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| V/V | G | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 2× |
| bIII | Ab | Borrowed from the parallel minorborrowed chord | Ab · C · Eb | 2× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 2× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| Vsus2 | Csus2 | Dominant — strongest pull home | C · D · G | 24× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| VIsus2 | Dsus2 | Relative minor — the melancholy side | D · E · A | 16× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 2× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Isus2 | Dsus2 | Tonic — home | D · E · A | 16× |
| i | Dm | Tonic — home | D · F · A | 2× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
| III | F | Relative major — the bright side | F · A · C | 2× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 2× |
| #IV | Ab | Chromatic colour chordoutside the key | Ab · C · Eb | 2× |
| 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 | 2× |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| VIIsus2 | Csus2 | Subtonic — steps back to the tonic | C · D · G | 24× |
| 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). 8 different chords appear 52 times in total; 4 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. G acts as a secondary dominant, briefly pointing at another chord of the key. Ab is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Csus2 Dm FVsus2 → vi DmVIIsus2 → iAeolian arrival ×1
The move to watch is Csus2 → Dm, heard once. From the Dm side it is VIIsus2 → i (Aeolian arrival: rises a whole tone into home); from the F side it reads Vsus2 → 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 Csus2, land on C, D, G — the chord's own tones always sound right on strong beats.
- Over Dsus2, land on D, E, A — 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.
- When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
- On Ab, follow the chord's notes (Ab · C · Eb) 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 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Csus2, Dsus2, Dm, F; read them as Vsus2–VIsus2–vi–I in F or VIIsus2–Isus2–i–III 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 Csus2 → Dm (Vsus2 → vi in F, VIIsus2 → i in Dm): Aeolian arrival — rises a whole tone into home. The final chord is Csus2; 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.
Dolu Kadehi Ters Tut - Çöpçatan 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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