Son Feci Bisiklet - Bilirim - Chord

Key D major – B minor Chords A, Dmaj7, Em, G, F#m, Bm Easy key C (capo 2)

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Capo 0

Dmaj7  Dmaj7  Em  A

Dmaj7              Em    A   Dmaj7
Bak şimdi seni bir görsünleeeeer
Em    A
Görsünler
Dmaj7         Em  A    Dmaj7  Em  A
Gördükleri yerdee ölsünler

Dmaj7                        Em         A
Bilirim bilirim bilirim seni en çok ben
Dmaj7                        Em    A
Duyarım duyarım duyarım yine uzaktaan
Dmaj7                        Em     A
Bilirim bilirim bilirim seni en çok ben
       Dmaj7  Em  A
En çok ben

G        A          Dmaj7  Em  A
Ne öğrendiysem unuttum

Dmaj7              Em    A   Dmaj7
Bak şimdi bana bir sorsunlaaaar
Em    A
Sorsunlar
Dmaj7            Em    A  Dmaj7
Sorularıyla beni yorsunlaaaar

Dmaj7                        Em         A
Bilirim bilirim bilirim seni en çok ben
Dmaj7                        Em    A
Duyarım duyarım duyarım yine uzaktaan
Dmaj7                        Em     A
Bilirim bilirim bilirim seni en çok ben
       Dmaj7  Em  A
En çok ben

G         A
Gecem tek çizgi ya da çift
 F#m             Bm             G
Elimde kir, ciğerlerimde zift baki
       A            F#m
Her sabah yeniden keşif
      Bm            G
Dön dolaş aynı yerdeyiz

         A         F#m
Ne öğrendiysem unuttum
      Bm         G
Dön dolaş, dön dolaş
         A            Dmajj
Ne öğrendiysem sen hariç

Dmaj7  Dmaj7  Em  A

Dmaj7                        Em         A
Bilirim bilirim bilirim seni en çok ben
Dmaj7                        Em    A
Duyarım duyarım duyarım yine uzaktaan
Dmaj7                        Em     A
Bilirim bilirim bilirim seni en çok ben
       Dmaj7  Em  A
En çok ben

End of song Play again?

Son Feci Bisiklet - Bilirim Tabs

NotesX

Harmony analysis

Son Feci Bisiklet – Bilirim: key and chord analysis

The song opens on Dmaj7 and ends on A. Its chords belong to both D major and Bm, so every chord below is read both ways.

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)

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 25 times against 3 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.

Seen from D major
Degree	Chord	Role	Notes	In song
Imaj7	Dmaj7	Tonic — home	D · F# · A · C#	25×
ii	Em	Supertonic — prepares the dominant	E · G · B	22×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	3×
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	26×
vi	Bm	Relative minor — the melancholy side	B · D · F#	3×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	3×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
IIImaj7	Dmaj7	Relative major — the bright side	D · F# · A · C#	25×
iv	Em	Subdominant — moves away from home	E · G · B	22×
v	F#m	Minor dominant — soft pull	F# · A · C#	3×
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	26×

Analysis

The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 84 times in total; 6 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

Em A Dii → Vii → V Bmiv → VII ×22
A Dmaj7 DV → Imaj7authentic cadence BmVII → IIImaj7 ×20
G A DIV → VIV → V BmVI → VIIVI → VII ×4
F#m Bm Diii → vi Bmv → inatural-minor cadence ×3
G Dmaj7 DIV → Imaj7plagal cadence BmVI → IIImaj7 ×1

The move to watch is Em → A, heard 22 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — 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

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Dmaj7 lays a solid floor for everything that follows. The chords that keep coming back are A, Dmaj7, Em, G; read them as V–Imaj7–ii–IV in D or VII–IIImaj7–iv–VI in Bm. 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. It closes on A, letting the D side have the last word.

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.