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)
Son Feci Bisiklet - Makineye Can Verin - Chord
Key F major – D minor Chords Dm, Gm, Bb, F, A, Am, D, E … Easy key C (capo 5)
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Key: F | Dm
Capo: 0
F
Kılıcını bırak da gel
Dm
Bilmen gereken bir şey var
Bb
Benim de bir sesim vardı
Gm
Güzeldi ama o kadardı
Dm
Bir şekilde beni bulur
Gm Dm
İstediğini alıp da kaybolur
Gm D
Bu oyunu ben de oynarım
A Dm
Sonrasında hapsi boylarım
Gm Am F Bb
İnsan her zaman gözleriyle göremez göremez
Gm Am F Bb
Nehirler akar su bilmez taş bilemez
Gm Am F Bb
Konuş benle çok geç olmadan
E A
Beni sana veren her an beni geri almadan
Dm Bb
Bir yol açtık biz senle el ele
Fm C# Ab
Hayat verdik kusursuz makineye
Eb C
Bir olduk, bi' yok olduk
F
Beni bana bırak da git
Dm
Hayat sandığından daha basit
Bb
Bir an için ben sendim
Gm
Korkunç güzel bir evrendim
Dm
Ama bir şekidle beni bulur
Gm Dm
İstediğini alıp da kaybolur
Gm D
Bu oyunu ben de oynarım
A Dm
Sonrasında hapsi boylarım
End of song Play again?
Son Feci Bisiklet - Makineye Can Verin Tabs
NotesX
Harmony analysis
Son Feci Bisiklet – Makineye Can Verin: key and chord analysis
The song opens on F 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)
- #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, it opens on F, Dm is heard 9 times against 5 for F 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 5× |
| i | Fm | Chromatic colour chordoutside the key | F · Ab · C | 1× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 9× |
| bIII | Ab | Borrowed from the parallel minorborrowed chord | Ab · C · Eb | 1× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 3× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 3× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 6× |
| V | C | Dominant — strongest pull home | C · E · G | 1× |
| bVI | C# | Borrowed from the parallel minorborrowed chord | C# · E# · G# | 1× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 9× |
| V/ii | D | Secondary dominant V/ii — leads to Gmsecondary dominant | D · F# · A | 2× |
| bVII | Eb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Eb · G · Bb | 1× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| V/iii | E | Secondary dominant V/iii — leads to Amsecondary dominant | E · G# · B | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 9× |
| V/iv | D | Secondary dominant V/iv — leads to Gmsecondary dominant | D · F# · A | 2× |
| bII | Eb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Eb · G · Bb | 1× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| V/v | E | Secondary dominant V/v — leads to Amsecondary dominant | E · G# · B | 1× |
| III | F | Relative major — the bright side | F · A · C | 5× |
| iii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 1× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 9× |
| #IV | Ab | Chromatic colour chordoutside the key | Ab · C · Eb | 1× |
| v | Am | Minor dominant — soft pull | A · C · E | 3× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 3× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 6× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 1× |
| #VII | C# | Chromatic colour chordoutside the key | C# · E# · G# | 1× |
Analysis
The key pair is F major and its relative D minor (1 flat). 13 different chords appear 43 times in total; 6 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. D, E act as secondary dominants, briefly pointing at another chord of the key. C#, Ab, Eb are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Gm Dm Fii → vi Dmiv → iminor plagal ×4
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×3
- C F FV → Iauthentic cadence DmVII → III ×1
The move to watch is Gm → Dm, heard 4 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → 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 Bb, land on Bb, D, F — 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 C#, follow the chord's notes (C# · E# · G#) 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on F, the song gives away its key from the very first bar. Dm, Gm, Bb, F carry the song: vi–ii–IV–I relative to F, i–iv–VI–III 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 → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. 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.
Son Feci Bisiklet - Makineye Can Verin 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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