Rıza Tamer - Efendim - Chord

Key F major – D minor Chords Am7, Gm7, Bbmaj7, Dm7, Bb, Fmaj7, Dm, C7 Easy key C (capo 5)

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Capo 0

Fmaj7               Gm7     Am7
Yine mi geldin kalbimin sızısı
      Dm7           Bbmaj7  Gm7      Dm7
Hoşgeldin diyemedim, sefaaaalar getirdin
     Am7  Bbmaj7  Gm7     Dm
Bu defaaaaaaa       acı verdin
Fmaj7             Gm7     Am7      Bbmaj7
Ne istedinde yapmadım bugüne kadar
                Gm7                   Dm
Onca acıyı çekmedik mi senle dibine kadar

Am7           Bb   Am7            Bb
Bambaşka düşlerinle, hayat gülüşlerinle
Dm7            C7   Bbmaj7  Am7
Yine mi sen geldin   efendim
Gm7         Am7  Bbmaj7        Am7
Aklına sığmıyorsa kalbin duramıyorsa
Gm7                   Am7
Bu işe bulaşma derim efendim

Am7           Bb   Am7            Bb
Bambaşka düşlerinle, hayat gülüşlerinle
Dm7            C7   Bbmaj7  Am7
Yine mi sen geldin   efendim
Gm7         Am7  Bbmaj7        Am7
Aklına sığmıyorsa kalbin duramıyorsa
Gm7                   Am7
Bu işe bulaşma derim efendim

End of song Play again?

Rıza Tamer - Efendim Tabs

NotesX

Harmony analysis

Rıza Tamer – Efendim: key and chord analysis

The song opens on Fmaj7 and ends on Am7. 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: we can't honestly pick a side here — the song moves freely between F major and D minor because it opens on F and Dm is heard 6 times against 2 for F. Try reading the chords both ways and see which feels more like home to you.

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
Imaj7	Fmaj7	Tonic — home	F · A · C · E	2×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	9×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	15×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	7×
IV	Bb	Subdominant — moves away from home	Bb · D · F	4×
V7	C7	Dominant — strongest pull home	C · E · G · Bb	2×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	4×
vi	Dm	Relative minor — the melancholy side	D · F · A	2×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	4×
i	Dm	Tonic — home	D · F · A	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
IIImaj7	Fmaj7	Relative major — the bright side	F · A · C · E	2×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	9×
v7	Am7	Minor dominant — soft pull	A · C · E · G	15×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	7×
VI	Bb	Submediant — warm colour	Bb · D · F	4×
VII7	C7	Subtonic — steps back to the tonic	C · E · G · Bb	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 8 different chords appear 45 times in total; 8 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

Gm7 Dm Fii7 → vi Dmiv7 → iminor plagal ×2
Bb Dm7 FIV → vi7 DmVI → i7VI → i ×2
Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×1
Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×1

The move to watch is Gm7 → Dm, heard 2 times. From the F side it reads ii7 → vi; from the Dm side it is iv7 → i (minor plagal: deep and melancholic). 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 Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Bbmaj7, land on Bb, D, F — 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

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

The song's harmonic story

Starting on Fmaj7, the song gives away its key from the very first bar. Am7, Gm7, Bbmaj7, Dm7 carry the song: iii7–ii7–IVmaj7–vi7 relative to F, v7–iv7–VImaj7–i7 relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm7 → Dm (ii7 → vi in F, iv7 → i in Dm): minor plagal — deep and melancholic. It closes on Am7, letting the F 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.