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)
Evdeki Saat - Mükemmel - Chord
Key F major – D minor Chords Bbmaj7, Dm7, Gm7 Easy key G
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Key: F | Dm
Capo: 0
Dm7 Bbmaj7 Dm7 Bbmaj7
Dm7 Bbmaj7
Ben varım burdayım bu mükemmel
Dm7 Bbmaj7
Sen yoktun şimdi varsın bu daha mükemmel
Gm7 Bbmaj7
Hiç kağıt olmasın yazarız bir şey bu kalem tükenmez
Gm7 Bbmaj7
Olsun sorunlar ben yorulmam hepsi güzeller
Dm7 Gm7 Bbmaj7
Bilerek bilerek canımı yakıyor
Dm7 Gm7 Bbmaj7
Bilerek bilerek canımı yakıyor
Dm7 Gm7 Bbmaj7
Giderek giderek beni öldürüyor
Gm7 Dm7 Gm7 Bbmaj7
Giderek giderek beni öldürüyor
Dm7 Bbmaj7
Gel derim gelmezsin bu mükemmel
Dm7 Bbmaj7
Ama ben senim sen bensin bu daha mükemmel
Dm7 Bbmaj7
Kimseler olmasın sen yanımdasın ben yere düşerken
Dm7 Bbmaj7
Onlar konuşurlar anlamazlar bizi üzenler
Dm7 Gm7 Bbmaj7
Bilerek bilerek canımı yakıyor
Dm7 Gm7 Bbmaj7
Bilerek bilerek canımı yakıyor
Dm7 Gm7 Bbmaj7
Giderek giderek beni öldürüyor
Gm7 Dm7 Gm7 Bbmaj7
Giderek giderek beni öldürüyor
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Evdeki Saat - Mükemmel Tabs
NotesX
Harmony analysis
Evdeki Saat – Mükemmel: key and chord analysis
The song opens on Dm7 and ends on Bbmaj7. 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 | — |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 12× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 18× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 16× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 16× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 12× |
| 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 | — |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 18× |
| 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). 3 different chords appear 46 times in total; 3 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
- Bbmaj7 Dm7 FIVmaj7 → vi7 DmVImaj7 → i7VI → i ×13
- Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×2
The move to watch is Bbmaj7 → Dm7, heard 13 times. From the Dm side it is VImaj7 → i7 (VI → i: falls a half step into home); from the F side it reads IVmaj7 → vi7. 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 Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Gm7, land on G, Bb, D — 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 Dm7 lays a solid floor for everything that follows. The chords that keep coming back are Bbmaj7, Dm7, Gm7; read them as IVmaj7–vi7–ii7 in F or VImaj7–i7–iv7 in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → Dm7 (IVmaj7 → vi7 in F, VImaj7 → i7 in Dm): VI → i — falls a half step into home. Ending on Bbmaj7, 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.
Evdeki Saat - Mükemmel 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: Eren BagiMusic: Eren Bagi
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