Siyam - Bi Sal Gideyim - Chord

Key F major – D minor Chords Dm, C, Bbmaj7 Easy key G

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Capo 0

Dm  Dm  C  C

Dm
Çektim kendi başıma duman uyardı beni
C
Girdi boğazımdan bir yerde durdu boğdu beni
Bbmaj7
Tutturdu en başından oturup anlattı seni
                                    Dm
Zor dedim anlamadı zorda bıraktı beni

Dm
Baktım üstüme başıma birazcık eski gibi
C
İçtim bir bir ilaçları birazcık esti gibi
Bbmaj7
Kurulu bir saat gibi başımda alarmı kurdu seni
                                    Dm
Zor dedim anlamadı zorda bıraktı beni

Dm  C  Bbmaj7  Bbmaj7

Dm
Yavaş yavaş kendimi toparlarım
C
Bir kaç arkadaş bulur kumar oynarım
Bbmaj7
Kendimi azarlarım geçmişin heryerindeyim

Bir sal gideyim yerimi bileyim

Dm
Çektim kendi başıma duman uyardı beni
C
Girdi boğazımdan bir yerde durdu boğdu beni
Bbmaj7
Tutturdu en başından oturup anlattı seni
                                    Dm
Zor dedim anlamadı zorda bıraktı beni

Dm
Baktım üstüme başıma birazcık eski gibi
C
İçtim bir bir ilaçları birazcık esti gibi
Bbmaj7
Kurulu bir saat gibi başımda alarmı kurdu seni
                                    Dm
Zor dedim anlamadı zorda bıraktı beni

End of song Play again?

Siyam - Bi Sal Gideyim Tabs

NotesX

Harmony analysis

Siyam – Bi Sal Gideyim: key and chord analysis

The song opens on Dm 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)

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 12 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.

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	—
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	7×
V	C	Dominant — strongest pull home	C · E · G	8×
vi	Dm	Relative minor — the melancholy side	D · F · A	12×
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	12×
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	—
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	7×
VII	C	Subtonic — steps back to the tonic	C · E · G	8×

Analysis

The key pair is F major and its relative D minor (1 flat). 3 different chords appear 27 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 Dm FIVmaj7 → vi DmVImaj7 → iVI → i ×6
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1

The move to watch is Bbmaj7 → Dm, heard 6 times. From the Dm side it is VImaj7 → i (VI → i: falls a half step into home); from the F side it reads IVmaj7 → 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Bbmaj7, land on Bb, D, F — 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

Starting on Dm, the song gives away its key from the very first bar. Dm, C, Bbmaj7 carry the song: vi–V–IVmaj7 relative to F, i–VII–VImaj7 relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → Dm (IVmaj7 → vi in F, VImaj7 → i in Dm): VI → i — falls a half step into home. It closes on Dm, 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.