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)
Tan Taşçı - Bi' Başka Ayrıldık - Chord
Key F major – D minor Chords Bb, Am, F, Gm, Dm Easy key G
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Key: F | Dm
Capo: 0
Dm Bb
Sen olsaydın zarar verirdin
Am F
Daha güçlü olandın sen
Bb Gm
Ben olsaydım içime atardım
Am Gm F
Hissederdim derinden
Dm Bb
Ne olduk sevgilim neden darıldık
Am F Bb
Ne zaman unuttuk neye sarıldık
Gm Am
Bi gören bi duyan bi çaban yok artık
Gm F
Anladım bu defa bi başka ayrıldık
Dm Bb
Sonumuz gelir zaman elinden
Am F
Özgür kalır ruhlarımız
Bb Gm
Ben vazgeçsem tüm eksiklerimden
Am Gm F
Sence mutlu olur muyuz
Dm Bb
Saklasam hatıran durur mu
Am F
Çok seven terk eden bir olur mu
Bb Gm Am
Bi sen bi ben bi biz olur mu
Gm F
Bu his durulur mu sence
End of song Play again?
Tan Taşçı - Bi' Başka Ayrıldık Tabs
NotesX
Harmony analysis
Tan Taşçı – Bi' Başka Ayrıldık: key and chord analysis
The song opens on Dm and ends on F. 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 F major side because it comes to rest on F, it opens on Dm and F is heard 8 times against 4 for Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
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 | 8× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 8× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 8× |
| 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 | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 4× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 4× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 8× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 8× |
| v | Am | Minor dominant — soft pull | A · C · E | 8× |
| 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 | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 36 times in total; 5 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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. The backbone is Bb, Am, F, Gm — IV–iii–I–ii from the F side, VI–v–III–iv from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is F; the ear comes to rest in F.
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.
Tan Taşçı - Bi' Başka Ayrıldık 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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