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)
Mor ve Ötesi - Adamın Dibi - Chord
Key F major – D minor Chords Dm, Bb, Fmaj7, Edim, A Difficulty already in its easiest key
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Key: F | Dm
Capo: 0
Dm Fmaj7
Yalandan bir zafer şenliği
Edim Bb
Yüzüme söyle, noluyo böyle
Dm Fmaj7
Bin çeşit kızgın adam sesi
Edim Bb
Gerine gerine dayılanıyor öyle
Dm Fmaj7
Cevabım sonsuz sessizliğim
Edim Bb
Dayanamazsın koskoca adamsın
Dm Fmaj7 Edim
Dermanın hep olduğun gibi kalabilmekse
Bb
Başarıların dibi
Dm
Gel biz senle anlaşalım
A Bb
Her şey bizde, hepsi bizde
Dm
Belki bir gün affederler
A Bb
Her şey bizdee
Dm
Gel biz senle anlaşalım
A Bb
Her şey bizde, ellerimizde
Dm
Belki bir gün affederler
A Bb
Biz değmeyince
End of song Play again?
Mor ve Ötesi - Adamın Dibi Tabs
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Harmony analysis
Mor ve Ötesi – Adamın Dibi: key and chord analysis
The song opens on Dm and ends on Bb. 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, Dm is heard 8 times against 4 for F 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 |
|---|---|---|---|---|
| Imaj7 | Fmaj7 | Tonic — home | F · A · C · E | 4× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 4× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 8× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 8× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 8× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | 4× |
| IIImaj7 | Fmaj7 | Relative major — the bright side | F · A · C · E | 4× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| 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 | 4× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 8× |
| 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). 5 different chords appear 28 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.
Chord movement
- Bb Dm FIV → vi DmVI → iVI → i ×7
The move to watch is Bb → Dm, heard 7 times. From the Dm side it is VI → i (VI → i: falls a half step into home); from the F side it reads IV → 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 Dm, land on D, F, A — 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.
- Over Fmaj7, land on F, A, C — 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.
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 backbone is Dm, Bb, Fmaj7, Edim — vi–IV–Imaj7–vii° from the F side, i–VI–IIImaj7–ii° from the Dm side. 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 Bb → Dm (IV → vi in F, VI → i in Dm): VI → i — falls a half step into home. The final chord is Bb; 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.
Mor ve Ötesi - Adamın Dibi 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: Mor ve ÖtesiMusic: Mor ve Ötesi
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