Paptircem - Padişahım - Chord

Key F major – D minor Chords Bb, A, C Easy key C (capo 5)

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Capo 0

A  Bb  A  Bb

      A
Padişahım 
   Bb         A
Sen olmasan kimin 
        Bb 
Gelirdim aklına
A          Bb
Kim alırdı ahımı
C           Bb
Göz dikerdi hakkıma

  A           Bb
Konuşurdum belki ben de
A          Bb
Zat-ı alin susarsa
   A          Bb
Ne yaparsın dikilince
C          Bb
Cümle alem karşına

A      Bb       A
Ah, kızma padişahım
   Bb       A
Alınıp kırılma
Bb
Ver hesabını
A             Bb
Sonra gel geç karşıma

A              Bb
Çiçek eken var saksıma, bi’ de
A            Bb
Kasteden var sabrıma
  A           Bb
Sarılanlar yalnızlara, bi’ de
C           Bb
Terkeden yalnızlığa

A               Bb
Tapanlar var vicdanına, bi’ de
A          Bb
Sarılanlar tahtına
A            Bb
Ters gelirse onlara, bi’ de
A            Bb
Ket vururlar şarkıma 

A   Bb   A   Bb

      A
Padişahım
   Bb         A
Bu cihanda senin
         Bb 
Yok eşin benzerin
  A            Bb
Yalanların hep sallanır ama
C            Bb
Titremez hiç ellerin

A            Bb
O kalpazan yaverleri
A           Bb
Gençliğimle besledin
A           Bb
Sen dışında herkesi
A           Bb
Sana düşman belledin

A       Bb       A
Ah, korkma padişahım
   Bb       A
Utanıp sıkılma
Bb
Var hesabımız
A             Bb
Şimdi gel geç karşıma

A              Bb
Çiçek eken var saksıma, bi’ de
A            Bb
Kasteden var sabrıma
  A           Bb
Sarılanlar yalnızlara, bi’ de
C           Bb
Terkeden yalnızlığa

A               Bb
Tapanlar var vicdanına, bi’ de
A          Bb
Sarılanlar tahtına
A            Bb
Ters gelirse onlara, bi’ de
A            Bb
Ket vururlar şarkıma

End of song Play again?

Paptircem - Padişahım Tabs

NotesX

Harmony analysis

Paptircem – Padişahım: key and chord analysis

The song opens on A and ends on Bb. 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)
#7 = C# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because the major V chord points straight at Dm. 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	—
III	A	Chromatic colour chordoutside the key	A · C# · E	39×
IV	Bb	Subdominant — moves away from home	Bb · D · F	44×
V	C	Dominant — strongest pull home	C · E · G	5×
vi	Dm	Relative minor — the melancholy side	D · F · A	—
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	—
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
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	39×
VI	Bb	Submediant — warm colour	Bb · D · F	44×
VII	C	Subtonic — steps back to the tonic	C · E · G	5×

Analysis

The key pair is F major and its relative D minor (1 flat). 3 different chords appear 88 times in total; 2 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull.

Chord movement

Bb C FIV → VIV → V DmVI → VIIVI → VII ×5

The move to watch is Bb → C, heard 5 times. From the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IV → V (IV → V: the lift that builds tension before home). 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — 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.
When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.

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 A; the ear learns where home is within a second. Bb, A, C carry the song: IV–III–V relative to F, VI–V–VII relative to Dm. A is the interesting twist: in F it is a chromatic chord (III), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. The final chord is Bb; 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.