Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Son Feci Bisiklet - Rahatsız Vals - Chord
Key Bb major – G minor Chords Gm, D, D#, F, Bb, Edim7, D7, Cm … Easy key C
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Key: Bb | Gm
Capo: 0
Gm D
O bu yolda hep yürür, bazen tanıdıklarını görür
Gm D
Her gün her şeyin aynı olduğu bu yerde, bir tekinsizlik var ilerde
D# F Gm Bb D#
Bugün, içinde kötü bir his mi var, diye sorsam söylemez ama
F Gm Bb D#
Benim hayali olmadığımın farkında değil galiba
Edim7 D D7 Gm
Çok sevimlisin ve son derece deli gibisin
D
Farkında değil misin
Gm D
Pek kimse onu anlamaz, o görmez yada umursamaz
Gm
Sonra ben geldim dedim adım Kemirgen
D
O hayatını gözden geçirirken
D# F Gm Bb D#
Bi sakin ol dünya savaşında sandığın kadar yalnız değilsin
F Gm Bb D#
Yara bandı sevdiğin için kendini kesmemelisin
Edim7 D D7 Gm
Çünkü çok sevimlisin ama son derece deli gibisin
D
Sanırım farkında değilsin
Cm Gm A D Cm
Yeterince beklerse biri kapısını çalar
Gm A D Cm
İyi günlerinde saçlarını fırçalar
Gm A D D#
Yalnız kalsa bi saniye rahatsız düşüncelerinde
Edim7 D D7 Gm
Gözden kaybolur, kimbilir belki de mutludur
D
Bu o kadar da zor mudur
End of song Play again?
Son Feci Bisiklet - Rahatsız Vals Tabs
NotesX
Harmony analysis
Son Feci Bisiklet – Rahatsız Vals: key and chord analysis
The song opens on Gm and ends on D. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (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 G minor side because it opens on Gm, Gm is heard 14 times against 4 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 4× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 3× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 13× |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 3× |
| IV | D# | Subdominant — moves away from home | D# · G · A# | 7× |
| vii°7/V | Edim7 | Secondary leading-tone chord vii°7/V — leads to Fsecondary dominant | E · G · Bb · Db | 3× |
| V | F | Dominant — strongest pull home | F · A · C | 4× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 14× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| V/iii | A | Secondary dominant V/iii — leads to Dmsecondary dominant | A · C# · E | 3× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 14× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| V/v | A | Secondary dominant V/v — leads to Dmsecondary dominant | A · C# · E | 3× |
| III | Bb | Relative major — the bright side | Bb · D · F | 4× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 3× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 13× |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 3× |
| VI | D# | Submediant — warm colour | D# · G · A# | 7× |
| vii°7/VII | Edim7 | Secondary leading-tone chord vii°7/VII — leads to Fsecondary dominant | E · G · Bb · Db | 3× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 4× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 9 different chords appear 54 times in total; 5 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D / D7 is V/vi, a secondary dominant heading for Gm. Edim7, A act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
- D# F BbIV → VIV → V GmVI → VIIVI → VII ×4
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×3
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×3
- Cm Gm Bbii → vi Gmiv → iminor plagal ×3
The move to watch is F → Gm, heard 4 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over D#, land on D#, G, A# — the chord's own tones always sound right on strong beats.
- When D comes, swap the scale's F for F#: 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm 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 Gm; the ear learns where home is within a second. Gm, D, D#, F carry the song: vi–V/vi–IV–V relative to Bb, i–V–VI–VII relative to Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. The final chord is D; the ear comes to rest in Bb.
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.
Son Feci Bisiklet - Rahatsız Vals 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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