Son Feci Bisiklet - Elektrot - Chord

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

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Capo 0

F  Bb  F  Bb

F        Bb
 Bu işler biraz böyledir
F         Bb
 Deneyipte tutunamayan bilir
F          C                Dm
 Bir yerlerde belli ki umut var
          Bb
Ama onu bulan gizli cebine koyar

F       Bb
 Bakarım bazen etrafıma
F           Bb
 Yaşadıkları aslında bi hatıra
F         C                Dm
 Bir sebeple suratlar hep asık
           Bb                 F     Bb
Ona değil ona maruz kalana yazık, yazık
  F   Bb  F  Bb
Yazık

F  Bb  F          C       Am  C
       Ay benim gece senin
F  Bb  F           C       Am  C
     Bakar bakar gülümserim
F  Bb  F         C      Am  C
       Olmuyorsa olmasın
         F        Bb     F
Bu dünya aklındakine uymadı
    C   Am  C     F
Uymasın,      uymasın

F  Bb  F  Bb

F       Bb
 Herşeye isyan ettiğimiz gece
F         Bb
 Uyandırdı beni kabus görünce
F        C                   Dm
 Sesi titrek yüzünde yastık izi
             Bb                    F
Korkma dedim tanrı çoktan unuttu bizi

F  Bb  F          C       Am  C
       Ay benim gece senin
F  Bb  F           C       Am  C
     Bakar bakar gülümserim
F  Bb  F         C      Am  C
       Olmuyorsa olmasın
         F        Bb     F
Bu dünya aklındakine uymadı
    C   Am  C     F
Uymasın,      uymasın

Unuttu bizi, unuttu bizi
İyilerimizi, kötülerimizi
Unuttu bizi, unuttu

End of song Play again?

Son Feci Bisiklet - Elektrot Tabs

NotesX

Harmony analysis

Son Feci Bisiklet – Elektrot: key and chord analysis

The song opens on F and ends on F. 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 it both starts and finishes on F and F is heard 35 times against 3 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	35×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	8×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	24×
V	C	Dominant — strongest pull home	C · E · G	19×
vi	Dm	Relative minor — the melancholy side	D · F · A	3×
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	3×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	35×
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
v	Am	Minor dominant — soft pull	A · C · E	8×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	24×
VII	C	Subtonic — steps back to the tonic	C · E · G	19×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 89 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Bb F FIV → Iplagal cadence DmVI → III ×24
C F FV → Iauthentic cadence DmVII → III ×8
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×3

The move to watch is Bb → F, heard 24 times. From the F side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Dm side it is VI → 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 F, land on F, A, C — 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.
Over C, land on C, E, G — 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
3 semitones down · capo 3 keeps the original pitch

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 F, Bb, C, Am; read them as I–IV–V–iii in F or III–VI–VII–v in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → F (IV → I in F, VI → III in Dm): plagal cadence — the soft 'amen' ending. The final chord is F; 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.