Son Feci Bisiklet - Fare - Chord

Key C major – A minor Chords Am, G, Dm, F, Fm6, C, Em, E … Difficulty already in its easiest key

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Capo 0

C  Em  F  Dm  Am  F  G  E  Am  Dm  G

Am                               Fm6
Burdayız yine, elin işte gözün savaşta
             Am
Kafan telaşta, burdayız yine
              Fm6
Kılıçlar çekildiğinde, müzik eşliğinde

C
Yıllarca sordum
                               E
Neden önemli hiçbir şey değişmiyordu
Am   Fm6         C
Tanrılar ne sandılar?

Em               F
Sonra bu küçük köpek
     Dm        Am
Sizi ısırmadan ölmeyecek
F          G    E7            Am
Tavsiyem şudur, olduğun yerde dur
Dm          G
Kim gelirse gelsin

    Am
Bir darbe, kırık dökük bir kalbe
           Fm6
Beklenen vebaydı çok akıllı fare
Am
Sonsuza kadar gider
                  Fm6
Dediğin her şey biter, en güzel keder

C
Yıllarca sordum
                               E
Neden önemli hiçbir şey değişmiyordu
Am   Fm6         C
Tanrılar ne sandılar?


Em               F
Sonra bu küçük köpek
     Dm        Am
Sizi ısırmadan ölmeyecek
F          G    E7            Am
Tavsiyem şudur, olduğun yerde dur
Dm          G
Kim gelirse gelsin
Dm          G
Nefret et seversin
Dm        E7      A
Köklerini saldığında

D  F#m  G  Em  Bm  G  A  F#  Bm  Em  D

End of song Play again?

Son Feci Bisiklet - Fare Tabs

NotesX

Harmony analysis

Son Feci Bisiklet – Fare: key and chord analysis

The song opens on C and ends on D. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because it opens on C, Am is heard 12 times against 5 for C and the major V chord points straight at Am. 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	5×
ii	Dm	Supertonic — prepares the dominant	D · F · A	8×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	2×
iii	Em	Mediant — a tonic-family shade	E · G · B	5×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	3×
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	3×
IV	F	Subdominant — moves away from home	F · A · C	6×
iv6	Fm6	Minor iv — borrowed from the parallel minorborrowed chord	F · Ab · C · D	6×
#iv	F#m	Chromatic colour chordoutside the key	F# · A · C#	1×
#IV	F#	Chromatic colour chordoutside the key	F# · A# · C#	1×
V	G	Dominant — strongest pull home	G · B · D	9×
vi	Am	Relative minor — the melancholy side	A · C · E	12×
V/ii	A	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	2×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
vii	Bm	Chromatic colour chordoutside the key	B · D · F#	2×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	12×
V/iv	A	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	2×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
ii	Bm	Chromatic colour chordoutside the key	B · D · F#	2×
III	C	Relative major — the bright side	C · E · G	5×
iv	Dm	Subdominant — moves away from home	D · F · A	8×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	2×
v	Em	Minor dominant — soft pull	E · G · B	5×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	3×
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	3×
VI	F	Submediant — warm colour	F · A · C	6×
vi6	Fm6	Chromatic colour chordoutside the key	F · Ab · C · D	6×
#vi	F#m	Chromatic colour chordoutside the key	F# · A · C#	1×
#VI	F#	Chromatic colour chordoutside the key	F# · A# · C#	1×
VII	G	Subtonic — steps back to the tonic	G · B · D	9×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 14 different chords appear 65 times in total; 6 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E / E7 is V/vi, a secondary dominant heading for Am. A, D act as secondary dominants, briefly pointing at another chord of the key. Fm6 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Fm6 C Civ6 → Iminor plagal Amvi6 → III ×4
Dm G Cii → Vii → V Amiv → VII ×4
E Am CV/vi → vi AmV → iharmonic-minor cadence ×3
Dm Am Cii → vi Amiv → iminor plagal ×3
F G CIV → VIV → V AmVI → VIIVI → VII ×3
E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×2

The move to watch is Fm6 → C, heard 4 times. From the Am side it is vi6 → III; from the C side it reads iv6 → I (minor plagal: a bittersweet arrival with a borrowed iv). 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 Am, land on A, C, E — 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
On Fm6, follow the chord's notes (F · Ab · C · D) rather than the key's scale — it's a borrowed colour.

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 C, the song gives away its key from the very first bar. Am, G, Dm, F carry the song: vi–V–ii–IV relative to C, i–VII–iv–VI relative to Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Fm6 → C (iv6 → I in C, vi6 → III in Am): minor plagal — a bittersweet arrival with a borrowed iv. The final chord is D; the ear comes to rest in C.

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.