Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Son Feci Bisiklet - Dışarda - Chord
Key D major – B minor Chords Em, A, D, G, Cm, Bm Easy key G (capo 7)
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Key: D | Bm
Capo: 0
D G Em D A D G Dışarda biri var ölür sabaha kadar Em D A Teker teker dağılıyoruz aman D G Dışarda küçük kız egzozlardan rahatsız Em D A İnsan diye dolaşıyoruz aman aman Em A Em A Sessizlikte kan aktı, hayatları kararttı Cm Bm Em A Kaç bin anne saçı ağarttı, yaşama bak D G Em D A D G Dışarda yalnızız tüm dünyada şanssızız Em D A Hiçbir şeyi hak etmiyoruz anam anam Em A Em A Herkes birilerine söver, sokakta görse döver Cm Bm Em A Hayallerimiz hayaletlere döner, yaşama bak
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Son Feci Bisiklet - Dışarda Tabs
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Harmony analysis
Son Feci Bisiklet – Dışarda: key and chord analysis
The song opens on D and ends on A. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D major side because it opens on D and D is heard 10 times against 2 for Bm. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to D or to Bm; 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 | D | Tonic — home | D · F# · A | 10× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 11× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 5× |
| V | A | Dominant — strongest pull home | A · C# · E | 11× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 2× |
| bvii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 2× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 2× |
| bii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 2× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 10× |
| iv | Em | Subdominant — moves away from home | E · G · B | 11× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 5× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 11× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 41 times in total; 5 of them sit naturally inside the shared scale. Cm step outside the scale as colour chords.
Chord movement
- Em A Dii → Vii → V Bmiv → VII ×6
- A D DV → Iauthentic cadence BmVII → III ×4
The move to watch is Em → A, heard 6 times. From the D side it reads ii → V (ii → V: the classic preparation of the dominant); from the Bm side it is iv → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Em, land on E, G, B — 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.
- Over D, land on D, F#, A — 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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is D; the ear learns where home is within a second. The backbone is Em, A, D, G — ii–V–I–IV from the D side, iv–VII–III–VI from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → A (ii → V in D, iv → VII in Bm): ii → V — the classic preparation of the dominant. Ending on A, the song seals D 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.
Son Feci Bisiklet - Dışarda 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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