Madrigal - Bizim Olsalar Yeter - Chord

Key F major – D minor Chords Dm, A7, Bb, Gm Easy key G

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Capo 0

Bb  Gm  A7  Dm  Dm

Bb
Tesadüfi hikayeler
Gm     A7       Dm
Umut dolu viraneler

Bizim olsalar yeter

Bb
Kural dışı düşünceler
Gm     A7       Dm
Umulmadık neticeler

Bizi bulsalar yeter

Bb           Gm    A7
Sonsuz eksik sen neye yarar
Dm
Yalan dolu ricalar
                       Bb
Aşılmış bozuk kaldırımlar
              Gm     A7         Dm  A7  Dm
Korkma hiç bilmem, sana doyamıyorum

Bb  Gm  A7  Dm

Bb
Bu sentetik ifadeler
Gm       A7       Dm
Sonu gelmez mesafeler

Geri dursalar yeter

Bb                Gm
Yalnız bir yıldız var
          A7 
Sessizce içimde parlar
Dm
Biraz soğuk, biraz gri
               Bb
Hiç doğmamış gibi

Bb           Gm    A7
Sonsuz eksik sen neye yarar
Dm
Yalan dolu ricalar
                       Bb
Aşılmış bozuk kaldırımlar
              Gm     A7         Dm  A7  Dm
Korkma hiç bilmem, sana doyamıyorum

Bb  Gm  A7  Dm

End of song Play again?

Madrigal - Bizim Olsalar Yeter Tabs

NotesX

Harmony analysis

Madrigal – Bizim Olsalar Yeter: key and chord analysis

The song opens on Bb and ends on Dm. 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 comes to rest on Dm, Dm is heard 14 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	11×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	13×
IV	Bb	Subdominant — moves away from home	Bb · D · F	12×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	14×
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	14×
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	11×
v	Am	Minor dominant — soft pull	A · C · E	—
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	13×
VI	Bb	Submediant — warm colour	Bb · D · F	12×
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 50 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 A7 is V7/vi, a secondary dominant heading for Dm.

Chord movement

A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×13
Gm A7 Fii → V7/vi Dmiv → V7iv → V ×11

The move to watch is A7 → Dm, heard 13 times. From the Dm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi (secondary resolution: A7 resolves a fourth up to Dm). 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 A7, land on A, C#, E — 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 A7 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

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is Bb; the ear learns where home is within a second. Dm, A7, Bb, Gm carry the song: vi–V7/vi–IV–ii relative to F, i–V7–VI–iv relative to Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A7 → Dm (V7/vi → vi in F, V7 → i in Dm): harmonic-minor cadence — the major V resolves dramatically. Ending on Dm, the song seals Dm 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.