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)
Sura İskenderli - Bazen - Chord
Key F major – D minor Chords Dm, C, Bb, Am Easy key G
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Key: F | Dm
Capo: 0
Dm Dm C
Dm Dm C C Bb Bb Am
Dm
Bazen şarkılardaki senin
Benden haberi olmaz
C
Yerin dolmaz, yerin dolmaz
Bb
Bazen insanlar gelir gider
Am
Biri bile seni sormaz
Dm
Bazen bir ömür biter
C
Ama bir bardak dolmaz
Bb
Bazen herkes vardır
Am
Ama sensiz olmaz, sensiz olmaz
Dm
Bu hayatta olmazsa başka hayatta buluşuruz
C
Yerim asla dolmazsa bir kere de konuşuruz
Bb
Sana beni anlattım, bir şeyler anlamadın
Am
Ama bunu da atlattım, olsun, olsun
x2
Dm
Bazen kaybolup gidersin
C
Kimse yerini sormaz
Bb
Bazen her şeye geç kalırsın
Am
Yanında kimse kalmaz
Dm C
Bazen sen durursun ama zaman durmaz
Bb Am
Bazen hep koşarsın, yolun bir yere varmaz
Dm
Bu hayatta olmazsa başka hayatta buluşuruz
C
Yerim asla dolmazsa bir kere de konuşuruz
Bb
Sana beni anlattım, bir şeyler anlamadın
Am
Ama bunu da atlattım, olsun, olsun
x2
End of song Play again?
Sura İskenderli - Bazen Tabs
NotesX
Harmony analysis
Sura İskenderli – Bazen: key and chord analysis
The song opens on Dm and ends on Am. 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 opens on Dm and Dm is heard 10 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 7× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 8× |
| V | C | Dominant — strongest pull home | C · E · G | 9× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 10× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 10× |
| 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 | 7× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 8× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 9× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 34 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
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×6
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
The move to watch is Am → Dm, heard 6 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → 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 Bb, 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
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, C, Bb, Am; read them as vi–V–IV–iii in F or i–VII–VI–v in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. Ending on Am, the song seals F 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.
Sura İskenderli - Bazen 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: Sura İskenderliMusic: Sura İskenderliArrangement: Uğur Tekcan
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