Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Can Oflaz - Bilmem - Chord
Key C major – A minor Chords Fmaj7, Am, Em7, Dm7, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Fmaj7 Em7 Am Dm7
Fmaj7
Kaç kere geldin aklıma bugün
Em7
Bilmem bilmem bilmem bilmem
Am
Kimleri sevdin yerime yine
Dm7 Fmaj7 G
Neden umrumda bu bile
Am Fmaj7
Yok, düşemem bir daha
Em7 Am
Koyamam yerine bir gecede, kaybolanların
Am Fmaj7
Yok, dönemem geriye
Em7 Dm7
Sesimi duyan her yaşımla, bir olana dek
Fmaj7
Kaç kere geldin aklıma bugün
Em7
Bilmem bilmem bilmem bilmem
Am
Bi' sen bulmuştun kaybolan beni
Dm7 Fmaj7 G
Duramam yok bi' daha ayakta
Am Fmaj7
Yok, düşemem bir daha
Em7 Am
Koyamam yerine bir gecede, kaybolanların
Am Fmaj7
Yok, dönemem geriye
Em7 Dm7
Sesimi duyan her yaşımla, bir olana dek
Fmaj7
Kimsin sen?
Em7
Neden bu çaba
Am
Sessizliğim bundan hep
Dm7
Çok konuştum, çok yoruldum
Fmaj7 Em7
Karşımda hangi aynam yinee
Am
Bi' başımayım bak yinee
Dm7 Fmaj7 Em7 Am Dm7
Döndüm döndüm kendime yine
End of song Play again?
Can Oflaz - Bilmem Tabs
NotesX
Harmony analysis
Can Oflaz – Bilmem: key and chord analysis
The song opens on Fmaj7 and ends on Dm7. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because Am is heard 12 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 8× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 10× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 12× |
| V | G | Dominant — strongest pull home | G · B · D | 2× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 12× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 12× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 8× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 10× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 12× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 2× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 44 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
- Em7 Am Ciii7 → vi Amv7 → inatural-minor cadence ×8
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
- Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×2
The move to watch is Em7 → Am, heard 8 times. From the Am side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Em7, 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Fmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Fmaj7, Am, Em7, Dm7; read them as IVmaj7–vi–iii7–ii7 in C or VImaj7–i–v7–iv7 in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am (iii7 → vi in C, v7 → i in Am): natural-minor cadence — gentle, modal arrival. The final chord is Dm7; the ear comes to rest in C.
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.
Can Oflaz - Bilmem 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: Can OflazMusic: Can OflazArrangement: Can Oflaz
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