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)
Güliz Ayla - Bilirkişi - Chord
Key F major – D minor Chords Am, Dm, G, C Difficulty already in its easiest key
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Key: F | Dm
Capo: 0
Am Dm Am Dm
Neden geçersin hep uzaktan, bizimki can değil mi
Am Dm G Am
Bıktık kapıda nöbetten, içimiz şişti
Am Dm Am Dm
Hayranınız ufaktan, hepimiz çok beğendik
Am Dm G Am
Öluyoruz meraktan bu kimin nesi
Am C Am
Eyvah yanarım valla gönlümde tüttün şimdiden
G Am
Eyvah ipleri saldım elimden
Am
Hadi dans edelim, tut elimi gidelim
G Am
Tipe bak valla yerim
Bilirkişi benim, seni inceledim
G Am
Şahaneden bir adim öndesin
Am Dm Am Dm
Hey bayım bak burdayız, daha ölmedik ayaktayız
Am Dm G Am
Fark edeceksen acilen, bayılayım şurda
Am Dm Am Dm
Hayranınız ufaktan, hepimiz çok beğendik
Am Dm G Am
Öluyoruz meraktan, bu kimin nesi
Am C Am
Eyvah yanarım valla gönlümde tuttun şimdiden
Am G
Eyvah ipleri saldım elimden
Am
Hadi dans edelim, tut elimi gidelim
G Am
Tipe bak valla yerim
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Güliz Ayla - Bilirkişi Tabs
NotesX
Harmony analysis
Güliz Ayla – Bilirkişi: key and chord analysis
The song opens on Am and ends on Am. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because Dm is heard 12 times while F never appears. 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| V/V | G | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 9× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 27× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | 2× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 12× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| 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 | — |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 9× |
| v | Am | Minor dominant — soft pull | A · C · E | 27× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 2× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 50 times in total; 3 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×12
The move to watch is Am → Dm, heard 12 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → 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 Am, land on A, C, E — 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 G, land on G, B, D — 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 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Am, the song gives away its key from the very first bar. Am, Dm, G, C carry the song: iii–vi–V/V–V relative to F, v–i–IV–VII relative to Dm. G adds a moment of surprise: secondary dominant V/V — leads to C. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. The final chord is Am; the ear comes to rest in F.
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.
Güliz Ayla - Bilirkişi 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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