Teoman - Romantik - Chord

Key F major – D minor Chords Bb, Dm, C, Bbm, G, A Easy key G

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Capo 0

Bb                                Dm     C
Sensizlik neymiş, tenime, canıma sor sor 
Bb                                 Dm     C
Celladım ol, gel, bana son arzumu sor sor  
Bb                                   Dm             C
Ne bir sigara, ne de ucu yanık bir resim ne bir itiraf
Bb                  Bbm            Dm
Bileyim ki baharda ben boşuna ölmedim, tek arzum var  

Bb                      G    
Romantik romantik romantik romantik
    Bb             A           Dm 
Romantik romantik bir oyun yine seninle  

Bb                           Dm   C  
Baharda sensiz olmak ne kadar zor
Bb                           Dm   C  
Güneşim olsan ısıtsan çok mu zor  
Bb                                 Dm          C  
Boş adamın loş ışığı bi daha titredi, seni istedi
Bb                   Bbm           Dm
Yaktığın tek mumun alevi daha sönmedi tek nefeste

End of song Play again?

Teoman - Romantik Tabs

NotesX

Harmony analysis

Teoman – Romantik: 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.

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)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (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 D minor side because it comes to rest on Dm, Dm is heard 9 times while F never appears and the major V chord points straight at Dm. 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
V/V	G	Secondary dominant V/V — leads to Csecondary dominant	G · B · D	1×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	1×
IV	Bb	Subdominant — moves away from home	Bb · D · F	10×
iv	Bbm	Minor iv — borrowed from the parallel minorborrowed chord	Bb · Db · F	2×
V	C	Dominant — strongest pull home	C · E · G	6×
vi	Dm	Relative minor — the melancholy side	D · F · A	9×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	9×
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	—
IV	G	Major IV — Dorian / melodic-minor colourmodal colour	G · B · D	1×
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	1×
VI	Bb	Submediant — warm colour	Bb · D · F	10×
vi	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	2×
VII	C	Subtonic — steps back to the tonic	C · E · G	6×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 29 times in total; 3 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. G acts as a secondary dominant, briefly pointing at another chord of the key. Bbm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bb Dm FIV → vi DmVI → iVI → i ×6
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×1

The move to watch is Bb → Dm, heard 6 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.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
On Bbm, follow the chord's notes (Bb · Db · F) 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 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 Bb; the ear learns where home is within a second. Bb, Dm, C, Bbm carry the song: IV–vi–V–iv relative to F, VI–i–VII–vi relative to Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. 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.