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)
Feride Hilal Akın - Sus Payı - Chord
Key F major – D minor Chords Am, Dm, C, F, Gm, Dm7, A#m, Fm7 … Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Am
Savunma sanatı mı bu gardının ilmi?
F C Gm Dm Am
Aklındaki zarın o içindeki hacmi hesaplayamadım, bi sığdıramadım kendimi
Dm Am
Sadece bugünüm ölümsüz, gerisi fani
F C
Sözlerimi de yaz peri misali.
Gm Dm Am A#m Am F
Uçurtmalarının kurdelesini bağla
Gm Dm C Am Gm Dm C Fm7 Am
Merhaba, garip bi rastlantı sonucunda yanıma uzansana hep ordaymış gibi
Dm7 Am Dm7 Am C Fm7 Am
Sessizliğimi dilime dolarım. Bütün kelimeleri içine atarım, ölüm
F C F C Gm Dm Gm F
Sessizliğimi dilime dolarım. Bütün kelimeleri içine atarım, ölüm sus payım
Dm7 Am Dm7 Dm C
Sessizliğimi dilime dolarım. Bütün kelimeleri içine atarım
A#m C
Ölüm hayatın verdiği sus payı
Dm Am Dm Am F Em F Am Dm Am Dm Am F Am Dm Am
Gm Dm C Am Gm Dm C Fm7 Am
Merhaba, garip bi rastlantı sonucunda yanıma uzansana hep ordaymış gibi
Dm7 Am Dm7 Am C Fm7 Am
Sessizliğimi dilime dolarım. Bütün kelimeleri içine atarım, ölüm
Rock
F C F C Gm Dm Gm F
Sessizliğimi dilime dolarım. Bütün kelimeleri içine atarım, ölüm sus payım
Dm Am Dm Am C A#m Am Gm
Sessizliğimi dilime dolarım. Bütün kelimeleri içine atarım, ölüm sus payım
F C F A#m C
Sessizliğimi dilime dolarım. Kelimeleri içine atarım, ölüm sus payım
End of song Play again?
Feride Hilal Akın - Sus Payı Tabs
NotesX
Harmony analysis
Feride Hilal Akın – Sus Payı: key and chord analysis
The song opens on Dm and ends on C. Its chords belong to both F major and Dm, so every chord below is read both ways.
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 opens on Dm and Dm is heard 24 times against 14 for F. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 14× |
| i7 | Fm7 | Chromatic colour chordoutside the key | F · Ab · C · Eb | 4× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 11× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 26× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| iv | A#m | Minor iv — borrowed from the parallel minorborrowed chord | A# · C# · E# | 4× |
| V | C | Dominant — strongest pull home | C · E · G | 17× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 18× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 18× |
| i7 | Dm7 | Tonic — home | D · F · A · C | 6× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| III | F | Relative major — the bright side | F · A · C | 14× |
| iii7 | Fm7 | Chromatic colour chordoutside the key | F · Ab · C · Eb | 4× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 11× |
| v | Am | Minor dominant — soft pull | A · C · E | 26× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| vi | A#m | Chromatic colour chordoutside the key | A# · C# · E# | 4× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 17× |
Analysis
The key pair is F major and its relative D minor (1 flat). 9 different chords appear 101 times in total; 6 of them sit naturally inside the shared scale. A#m is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Gm Dm Fii → vi Dmiv → iminor plagal ×8
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×6
- Am Dm7 Fiii → vi7 Dmv → i7natural-minor cadence ×5
- C F FV → Iauthentic cadence DmVII → III ×3
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
The move to watch is Gm → Dm, heard 8 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → vi. 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — 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.
- On A#m, follow the chord's notes (A# · C# · E#) rather than the key's scale — it's a borrowed colour.
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 Dm; the ear learns where home is within a second. Am, Dm, C, F carry the song: iii–vi–V–I relative to F, v–i–VII–III relative to Dm. A#m briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. It closes on C, 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.
Feride Hilal Akın - Sus Payı Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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