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)
Poizi - Perde - Chord
Key F major – D minor Chords Bb, Dm Easy key G
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Key: F | Dm
Capo: 0
Bb Bb Dm Dm
x2
Bb
Geç bile kaldım inan, tutundum yaşamaya senle
Dm
Düşüyorum geceleri, istemeden bu derde
Kafamda kurdum her şeyi ben, her şeyimiz senle
Bb
Nasıl unuturum geçmişi, çektim ona perde
Tutundum yaşamaya senle
Dm
Düşüyorum geceleri, istemeden bu derde
Kafamda kurdum her şeyi ben, her şeyimiz senle
Bb
Nasıl unuturum geçmişi, çektim ona perde
Bb
Sen, unut beni bir sarhoş âşık gibi
Dm
Ben, yaptım sürekli hep yanlış seçimler
Kafamda kurdum, kaçtım geçmişimden
Bb
Bir hata yaptın, bilirsin düzelmez kendiliğinden
Bb Dm
Dayanmak zor geliyor, taşıdım içimdeki derdi
Gözlerin ele veriyor, anlasam emin ol giderdim
Bb
Geç bile kaldım inan, tutundum yaşamaya senle
Dm
Düşüyorum geceleri, istemeden bu derde
Kafamda kurdum her şeyi ben, her şeyimiz senle
Bb
Nasıl unuturum geçmişi, çektim ona perde
Tutundum yaşamaya senle
Dm
Düşüyorum geceleri, istemeden bu derde
Kafamda kurdum her şeyi ben, her şeyimiz senle
Bb
Nasıl unuturum geçmişi, çektim ona perde
Bb
Gerçekten umurumda değil
Birazcık düşündüm nasıl fikir (denemeyi)
Bıraktın o gece her şeyini
Bende emin ol düşündüm ailemi
Dm
Söz verdim kendime, yapamam bir daha
tutamam artık o ellerini
Bir fırsat yarattı Tanrı bana, ben de unutup koşturdum hedefimi.
Bb
Nasıl dayandın sırtında o kadar dertle?
Gelme, istemem artık, ilerle
22 senem de geçti nelerle hatırla hatıra, ağla pederle
Dm
Hakkettim sonuna kadar, üzülme annecim, yorulmam ama
Bu kaderim ne zaman yüzüme bakar?
Oğlun da başarır, düşünme baba
Bb Bb Dm Dm
x2
End of song Play again?
Poizi - Perde Tabs
NotesX
Harmony analysis
Poizi – Perde: key and chord analysis
The song opens on Bb and ends on Dm. 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 comes to rest 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.
| 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 | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 15× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 12× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| 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 | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 15× |
| 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). 2 different chords appear 27 times in total; 2 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
- Bb Dm FIV → vi DmVI → iVI → i ×10
The move to watch is Bb → Dm, heard 10 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 Bb, land on Bb, D, F — 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.
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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Bb; the ear learns where home is within a second. The chords that keep coming back are Bb, Dm; read them as IV–vi in F or VI–i in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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 Dm; the ear comes to rest in Dm.
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.
Poizi - Perde 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: Barış AnaçMusic: Barış Anaç
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