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)
Sezer Sarıgöz - Bağıra Bağıra - Chord
Key F major – D minor Chords Am7, Dm7, Gm7, Dm Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm7 Am7
Dm7 Am7
Sus bidaha konuşma
Dm7 Am7
Bu yaptıkların gidiyor zoruma
Dm Am7
Ben imkansızı sende bulduğuma
Gm7 Am7
İnanamadım oysa bu kadarı da fazla
Gm7 Am7
İnanamadım oysa bu kadarı da fazla
Dm7 Gm7
Sende bağıra bağıra söyle
Am7
İnkar et yüzüme
Ne olur yapmadım de
Gm7
Haydi söyle
Dm7 Gm7
Ah be kaybettim seni de
Am7
Artık bedenime bir ömür borçluyum
Dm7
Senin sayende
End of song Play again?
Sezer Sarıgöz - Bağıra Bağıra Tabs
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Harmony analysis
Sezer Sarıgöz – Bağıra Bağıra: key and chord analysis
The song opens on Dm7 and ends on Dm7. 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 both starts and finishes on Dm and Dm is heard 7 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 | 5× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 8× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 6× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 1× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 6× |
| i | Dm | Tonic — home | D · F · A | 1× |
| 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 | 5× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 8× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| 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 20 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
- Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×4
- Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×1
- Am7 Dm Fiii7 → vi Dmv7 → inatural-minor cadence ×1
The move to watch is Am7 → Dm7, heard 4 times. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → 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 Am7, land on A, C, E — 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Dm7 lays a solid floor for everything that follows. The backbone is Am7, Dm7, Gm7, Dm — iii7–vi7–ii7–vi from the F side, v7–i7–iv7–i from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. It closes on Dm7, letting the Dm side have the last word.
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.
Sezer Sarıgöz - Bağıra Bağıra 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: Sezer Sarıgöz & Alihan SivriMusic: Sezer SarıgözArrangement: Efe Can
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