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)
Simge Pınar - Biz Hep Aynı - Chord
Key F major – D minor Chords C, Dm, F, Gm, Am, Bb, Bbm Easy key C (capo 5)
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Key: F | Dm
Capo: 0
F
Evimi sırtıma taktım
C
Yürüyorum sana ama biraz zaman alacak
F
Yollar ürkütücü ve karanlık
C
Senin cesaretin, senin güneşin sızar içime
Gm C Am Dm
İnsanlar değişir, şehirler değişir, biz hep aynı
F
Sen yokken öğrendim birkaç şeyi
C
Birden fazla aşk varmış, bil istedim
F C
Sözler tutulmamak, sevgiler gelip geçmek içinmiş
Gm C Am Dm
İnsanlar değişir, şehirler değişir, biz hep aynı
Bb Bbm Dm
Gerçekleşirken hayallerin hep yanında olacağım
Bb Bbm Dm
Kıyıda köşede kalmış güzellikleri hatırlatacağım
Gm C Am Dm
İnsanlar değişir, şehirler değişir, biz hep aynı
End of song Play again?
Simge Pınar - Biz Hep Aynı Tabs
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Harmony analysis
Simge Pınar – Biz Hep Aynı: 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)
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 and Dm is heard 5 times against 4 for F. 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 | 4× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 3× |
| 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 | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 2× |
| iv | Bbm | Minor iv — borrowed from the parallel minorborrowed chord | Bb · Db · F | 2× |
| V | C | Dominant — strongest pull home | C · E · G | 7× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 5× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 5× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 4× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 3× |
| 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 | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 2× |
| vi | Bbm | Chromatic colour chordoutside the key | Bb · Db · F | 2× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 7× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 26 times in total; 6 of them sit naturally inside the shared scale. Bbm is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Gm C Fii → Vii → V Dmiv → VII ×3
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×3
- C F FV → Iauthentic cadence DmVII → III ×2
The move to watch is Gm → C, heard 3 times. From the Dm side it is iv → VII; from the F side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Dm, land on D, F, A — 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.
- On Bbm, follow the chord's notes (Bb · Db · F) 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
The first chord is F; the ear learns where home is within a second. The chords that keep coming back are C, Dm, F, Gm; read them as V–vi–I–ii in F or VII–i–III–iv in Dm. Bbm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Gm → C (ii → V in F, iv → VII in Dm): ii → V — the classic preparation of the dominant. Ending on Dm, the song seals Dm 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.
Simge Pınar - Biz Hep Aynı 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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Lyrics: Simge PınarMusic: Simge PınarArrangement: Harun Tekin
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