Simge - Bir Şeyin Olayım - Chord

Key F major – D minor Chords Gm7, Am7, Dm7, Bbmaj7, C7, G7 Easy key C (capo 5)

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Capo 0

Gm7  Gm7  Am7  Dm7
x2

Gm7          Am7        Dm7
Ne sende kalacak göz vardı
Gm7      Am7           Dm7
Ne de bende gözümüzü açtık
Bbmaj7     Am7        Gm7
İki sersem aşk hovardası
        Dm7         C7        G7   Bbmaj7
Seni bilmem benim aklım sende kaldııı

Gm7            Am7
Al beni çekmecene koy
                Dm7
Ben orda yıllanayım
Gm7             Am7
Unut orada istersen
              Dm7
Unutulanın olayım
x2

Gm7
Ama bir şeyin olayım
Am7              Dm7
Ama bir şeyin olayım
Gm7
Ama bir şeyin olayım
      Am7     Dm7
Bir şeyin olayım

Gm7  Gm7  Am7  Dm7

Gm7         Am7        Dm7
Bugün bir koku hatırlattı
Gm7         Am7       Dm7
Zaman da yolcu etti beni
Bbmaj7    Am7          Gm7
Senden evvel sensiz sonrası
       Dm7        C7  G7  Bbmaj7
Kaçırdığım şeyin adı aşktııı

Gm7            Am7
Al beni çekmecene koy
                Dm7
Ben orda yıllanayım
Gm7             Am7
Unut orada istersen
              Dm7
Unutulanın olayım
x2

Gm7
Ama bir şeyin olayım
Am7              Dm7
Ama bir şeyin olayım
Gm7
Ama bir şeyin olayım
      Am7     Dm7
Bir şeyin olayım

End of song Play again?

Simge - Bir Şeyin Olayım Tabs

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Harmony analysis

Simge – Bir Şeyin Olayım: key and chord analysis

The song opens on Gm7 and ends on Dm7. 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 D minor side because it comes to rest on Dm and Dm is heard 16 times while F never appears. 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	—
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	18×
V7/V	G7	Secondary dominant V/V — leads to Csecondary dominant	G · B · D · F	2×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	16×
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	4×
V7	C7	Dominant — strongest pull home	C · E · G · Bb	2×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	16×
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	16×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	18×
IV7	G7	Major IV — Dorian / melodic-minor colourmodal colour	G · B · D · F	2×
v7	Am7	Minor dominant — soft pull	A · C · E · G	16×
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	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). 6 different chords appear 58 times in total; 5 of them sit naturally inside the shared scale. G7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×14
Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×2

The move to watch is Am7 → Dm7, heard 14 times. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → vi7. 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 Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Dm7, land on D, F, A — 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

The opening Gm7 lays a solid floor for everything that follows. Gm7, Am7, Dm7, Bbmaj7 carry the song: ii7–iii7–vi7–IVmaj7 relative to F, iv7–v7–i7–VImaj7 relative to Dm. G7 adds a moment of surprise: secondary dominant V/V — leads to C. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. The final chord is Dm7; the ear comes to rest in Dm.

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.