Son Feci Bisiklet - Pazar ve Ertesi - Chord

Key F major – D minor Chords Dm, Gm, A Easy key C (capo 5)

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Capo 0

Dm   Gm    A  

Dm
Günler geçti ve sessizleşti
Gm         A
Bu ev yanıyor
      Dm
Kanser rengi duvarlar
              Gm  A
Ve hayaletler var

Dm                              Gm
Bir de pazar ve ertesi olunca ben
       A            Dm
Zorlanırım gülümsemem
                     Gm
Yine de sen olunca ben
          A              Dm
Huzur bulur kötü düşünemem
 
Gm                A          Dm
Yoldan çıkmak için tam zamanı

Ve   tam   yeri
Gm                      A          Dm
Gel öldür beni ya da fesat düşüncelerimi
       Gm      A                 Dm
Sensizlikten gayrı bir derdim yok
   
Dm   Gm   A 

Dm
Günler geçti sevimsizleşti
   Gm       A
Bu ev gözümde
      Dm
Sonsuzluk derdi baki ve yaşamak zoraki
Gm        A
İşin özünde

End of song Play again?

Son Feci Bisiklet - Pazar ve Ertesi Tabs

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Harmony analysis

Son Feci Bisiklet – Pazar ve Ertesi: key and chord analysis

The song opens on Dm and ends on A. 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 opens on Dm, Dm is heard 12 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	11×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	11×
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
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	—

Seen from D minor
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	11×
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	11×
VI	Bb	Submediant — warm colour	Bb · D · F	—
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). 3 different chords appear 34 times in total; 2 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.

Chord movement

Gm A Fii → V/vi Dmiv → Viv → V ×11
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×10

The move to watch is Gm → A, heard 11 times. From the Dm side it is iv → V (iv → V: the minor side's tension builder); from the F side it reads ii → V/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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — 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.

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

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. Dm, Gm, A carry the song: vi–ii–V/vi relative to F, i–iv–V 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 Gm → A (ii → V/vi in F, iv → V in Dm): iv → V — the minor side's tension builder. Ending on A, 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.