Oğuzhan Koç - Bitti - Chord

Key F major – D minor Chords Dm7, Am7, Em7b5, Bbmaj7, Gm7, A7 Easy key C (capo 5)

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Capo 0

Dm7  Am7  Dm7  Am7  Dm7  Am7  Dm7  Am7

Dm7       Am7
Nerdeydin bunca yıl
Dm7          Am7
Sormadın hiç ben nasılım
Bbmaj7     Am7       Dm7  Am7
Tanışmadık mı hiç acaba

Dm7        Am7
Gülmem ben bir daha sanki
Dm7      Am7
Atmışlar zindana
Bbmaj7    Am7        Dm7  Am7
Bakmış mıydın hiç acaba?

Dm7                Am7
Aramıza giriyor bi hain
   Dm7                   Am7
Bi çukura düşürüyor bizi zalim
Dm7                    Am7
Kovalamak için yok hiç halim
     Bbmaj7  Am7
Seni bundan  sonra
x2

Dm7        Em7b5
Ama alınıyorum
Dm7          Am7         Gm7        Dm7
Yine yazılıyorum sana bu aşkın hatrına
           Em7b5
Çok üzülüyorum 
Dm7     Am7         Gm7       Dm7
Süzülüyorum sana, yanımda olsana

Dm7  Dm7  Em7b5  A7
x2

Dm7                Am7
Aramıza giriyor bi hain
   Dm7                   Am7
Bi çukura düşürüyor bizi zalim
Dm7                    Am7
Kovalamak için yok hiç halim
     Bbmaj7  Am7
Seni bundan  sonra
x2

Dm7        Em7b5
Ama alınıyorum
Dm7          Am7         Gm7        Dm7
Yine yazılıyorum sana bu aşkın hatrına
           Em7b5
Çok üzülüyorum 
Dm7     Am7         Gm7       Dm7
Süzülüyorum sana, yanımda olsana

End of song Play again?

Oğuzhan Koç - Bitti Tabs

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Harmony analysis

Oğuzhan Koç – Bitti: key and chord analysis

The song opens on Dm7 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)
#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 it both starts and finishes on Dm, Dm is heard 28 times while F never appears and 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	—
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	4×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	24×
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	1×
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	4×
V	C	Dominant — strongest pull home	C · E · G	—
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	28×
viiø7	Em7b5	Leading-tone chord — tension	E · G · Bb · D	5×

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	28×
iiø7	Em7b5	Supertonic — prepares the dominant	E · G · Bb · D	5×
III	F	Relative major — the bright side	F · A · C	—
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	4×
v7	Am7	Minor dominant — soft pull	A · C · E · G	24×
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	1×
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	4×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 66 times in total; 5 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; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm.

Chord movement

Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×16
Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×4
A7 Dm7 FV7/vi → vi7secondary resolution DmV7 → i7harmonic-minor cadence ×1
Em7b5 A7 Fviiø7 → V7/vi Dmiiø7 → V7ii° → V ×1

The move to watch is Am7 → Dm7, heard 16 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 Dm7, land on D, F, A — 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 Em7b5, land on E, G, Bb — the chord's own tones always sound right on strong beats.
When A7 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

The song's harmonic story

The opening Dm7 lays a solid floor for everything that follows. Dm7, Am7, Em7b5, Bbmaj7 carry the song: vi7–iii7–viiø7–IVmaj7 relative to F, i7–v7–iiø7–VImaj7 relative to Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. Ending on Dm7, the song seals Dm as home.

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.