Tan Taşçı - Bi' Başka Ayrıldık - Chord

Key F major – D minor Chords Bb, Am, F, Gm, Dm Easy key G

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Capo 0

Dm             Bb       
Sen olsaydın zarar verirdin
Am                  F
Daha güçlü olandın sen
Bb             Gm  
Ben olsaydım içime atardım
Am       Gm      F
Hissederdim derinden

Dm           Bb 
Ne olduk sevgilim neden darıldık
Am            F                Bb
Ne zaman unuttuk neye sarıldık
              Gm                     Am
Bi gören bi duyan bi çaban yok artık
     Gm       F
Anladım bu defa bi başka ayrıldık

Dm               Bb
Sonumuz gelir zaman elinden
Am                  F
Özgür kalır ruhlarımız
Bb                 Gm
Ben vazgeçsem tüm eksiklerimden
Am        Gm        F
Sence mutlu olur muyuz

Dm            Bb
Saklasam hatıran durur mu
Am               F
Çok seven terk eden bir olur mu
Bb         Gm              Am
Bi sen bi ben bi biz olur mu
   Gm                F
Bu his durulur mu sence

End of song Play again?

Tan Taşçı - Bi' Başka Ayrıldık Tabs

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Harmony analysis

Tan Taşçı – Bi' Başka Ayrıldık: key and chord analysis

The song opens on Dm and ends on F. 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 F major side because it comes to rest on F, it opens on Dm and F is heard 8 times against 4 for Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.

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	8×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	8×
iii	Am	Mediant — a tonic-family shade	A · C · E	8×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	8×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	4×
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	4×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	8×
iv	Gm	Subdominant — moves away from home	G · Bb · D	8×
v	Am	Minor dominant — soft pull	A · C · E	8×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	8×
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). 5 different chords appear 36 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — 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

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

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. The backbone is Bb, Am, F, Gm — IV–iii–I–ii from the F side, VI–v–III–iv from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is F; 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.