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)
Halil Sezai - Paramparça - Chord
Key F major – D minor Chords Dm, Bb, C7, Am7, Gm7, Gm, F Easy key G
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Key: F | Dm
Capo: 0
Dm Bb C7 Am7 Gm Am7 C7 Bb Am7
Dm Bb C7 Am7
Ölü aşk diyarlarına beni sen attın da
C7 Bb Am7 C7 Bb Dm Bb Dm
İçim paramparça viraneyim yalan oldum ah
Dm Bb C7 Am7
Sesin yankı olur boğar her adımda
C7 Bb Am7 C7 Bb Dm Bb Dm
İçim paramparça viraneyim duman oldum ah
Dm Am7 Gm7 C7 F
Haykırsam ellerimi, açsam yalnız saaana ah
Dm Am7 Gm7 C7 Dm
Ağlasam çocuk gibi, eskileri annnlaatsam
Gm7 Am7 C7 Bb Dm
Derviş gibi abdal gibi tapar gibi, paramparça
End of song Play again?
Halil Sezai - Paramparça Tabs
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Harmony analysis
Halil Sezai – Paramparça: 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.
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 11 times against 1 for F. 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 | 1× |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 3× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 1× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 10× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 11× |
| V7 | C7 | Dominant — strongest pull home | C · E · G · Bb | 11× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 11× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 11× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 1× |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 3× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 1× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 10× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 11× |
| VII7 | C7 | Subtonic — steps back to the tonic | C · E · G · Bb | 11× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 48 times in total; 7 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 ×5
- Bb C7 FIV → V7IV → V DmVI → VII7VI → VII ×3
- Gm7 C7 Fii7 → V7ii → V Dmiv7 → VII7 ×2
- C7 F FV7 → Iauthentic cadence DmVII7 → III ×1
- C7 Dm FV7 → videceptive cadence DmVII7 → iAeolian arrival ×1
- Am7 Dm Fiii7 → vi Dmv7 → inatural-minor cadence ×1
The move to watch is Bb → Dm, heard 5 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 Dm, land on D, F, A — 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.
- Over C7, land on C, E, G — 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 opening Dm lays a solid floor for everything that follows. Dm, Bb, C7, Am7 carry the song: vi–IV–V7–iii7 relative to F, i–VI–VII7–v7 relative to 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. 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.
Halil Sezai - Paramparça 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: Halil SezaiMusic: Saki ÇimenArrangement: Göksün Çavdar
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