Koray Avcı - Kim Bilir - Chord

Key F major – D minor Chords C, F, G, Dm Easy key G

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Capo 0

C  C  F  G  C

C            Dm      G        C
 Kim bilir bu gidişin dönüşü olacak mı
 
C                  Dm         C
 Ah nasıl yollarına bakacağım kim bilir
 
C                   F 
 Ufkumda batan güneş bu sabah doğacak mı
C 
 Kalben ne kadar dertli olacağım kim bilir

C  G  C
 
C         F          C        
Kim bilir, kim bilir, kim bilir, kim bilir
C         F          C           G     C
Kim bilir, kim bilir, kim bilir, kim bilir

C  C  F  G  C  
C  C  F  G  C

C  F  C  C  C  F  C  G  C

End of song Play again?

Koray Avcı - Kim Bilir Tabs

NotesX

Harmony analysis

Koray Avcı – Kim Bilir: key and chord analysis

The song opens on C and ends on C. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F major side because F is heard 8 times against 2 for Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.

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	8×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
V/V	G	Secondary dominant V/V — leads to Csecondary dominant	G · B · D	7×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
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	28×
vi	Dm	Relative minor — the melancholy side	D · F · A	2×
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	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	8×
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
IV	G	Major IV — Dorian / melodic-minor colourmodal colour	G · B · D	7×
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	—
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	28×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 45 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

C F FV → Iauthentic cadence DmVII → III ×8
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×2

The move to watch is C → F, heard 8 times. From the F side it reads V → I (authentic cadence: the strongest arrival home); from the Dm side it is VII → III. 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — 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

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening C lays a solid floor for everything that follows. C, F, G, Dm carry the song: V–I–V/V–vi relative to F, VII–III–IV–i relative to Dm. G adds a moment of surprise: secondary dominant V/V — leads to C. Keep an ear on C → F (V → I in F, VII → III in Dm): authentic cadence — the strongest arrival home. Ending on C, 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.