Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Karamel Makiyato - Bikere Daha Gülümsesen - Chord
Key C major – A minor Chords Dm7, G, Am7, Am Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Dm7 Dm7 Am7 G
Dm7 Am G
Yoruldum durmadan hep canım yanınca
Dm7 Am G
Sarmış her yanımı atılan tüm yalanlar
Dm7 Am
Bi kere daha gülümsesen
G Dm7
Geriye dönsek de gitmesen
Am
Bi kere daha gülümsesen
G Dm7 Am7 G
Geriye dönsek de gitmesen, ahh
Dm7
Soyundum aşkına, sevdim seni kızım
Am7 G
Yenildim zamana (kaçtım kendimden)
Dm7 Am7
Kaçtım kendimden (senden)
G Dm7 Am7
Hayatın kendisinden, aaaahhhhh
G Dm7
Yenildik zamana
Am G
Yenildik zamana
End of song Play again?
Karamel Makiyato - Bikere Daha Gülümsesen Tabs
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Harmony analysis
Karamel Makiyato – Bikere Daha Gülümsesen: key and chord analysis
The song opens on Dm7 and ends on G. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because Am is heard 10 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 11× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | 10× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 5× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 5× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 5× |
| i | Am | Tonic — home | A · C · E | 5× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 11× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 10× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 31 times in total; 4 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
- Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×5
- Dm7 Am Cii7 → vi Amiv7 → iminor plagal ×5
The move to watch is Dm7 → Am7, heard 5 times. From the Am side it is iv7 → i7 (minor plagal: deep and melancholic); from the C side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Dm7, the song gives away its key from the very first bar. The backbone is Dm7, G, Am7, Am — ii7–V–vi7–vi from the C side, iv7–VII–i7–i from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Am7 (ii7 → vi7 in C, iv7 → i7 in Am): minor plagal — deep and melancholic. Ending on G, the song seals C 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.
Karamel Makiyato - Bikere Daha Gülümsesen 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: Karamel MakiyatoMusic: Karamel Makiyato
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