Teoman - Hiç Kimse Bilmez - Chord

Key F major – D minor Chords F, Dm, Gm, Bb, Am, C, A Easy key C (capo 5)

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Capo 0

F            Am              Dm          F
Ben hep sana gelirim, beni anlasın diye tenin
F          Am          Dm      F
Bırakırım kamaşsın yaşamdan gözlerim
Bb       Gm       F         Dm
Tenini avuçlarım zaten severim
Bb           Gm         F
Gelmesen de sevmesen de beni

F             Am      Dm        F
Tutsan ellerimden, geçmişi unutamam ki
F          Am        Dm         F
Öpsem gözlerinden yaşları kurutamam ki
Bb        Gm          F        Dm
Damağım çöle dönmüş, sesim çamura
Bb             Gm             F
Oyuncağını geri ver içimdeki çocuğa

A           F      C         Dm    F
Hiç kimse bilmez, hiç kimse sevmez
C             Gm       Dm            
Şimdi sen de yoksun yanımda
           F       C           Dm   F  
Hiç kimse duymaz, hiç kimse sormaz
Gm            Bb       F
Şimdi sen de yoksun yanımda

F            Am           Dm         F
Yüzüm gözüm toz toprak, yağmurların yıkamaz
F          Am           Dm          F
Kalbim kabuk bağlar, içim artık acımaz
Bb       Gm       F         Dm
Kanserli kentlerin çığlığından
Bb          Gm        F
Son trenle ayrıldığımdan

End of song Play again?

Teoman - Hiç Kimse Bilmez Tabs

NotesX

Harmony analysis

Teoman – Hiç Kimse Bilmez: key and chord analysis

The song opens on F 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)
#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 F major side because it both starts and finishes on F, F is heard 23 times against 12 for Dm and the major V chord points straight at 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	23×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	8×
iii	Am	Mediant — a tonic-family shade	A · C · E	6×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	1×
IV	Bb	Subdominant — moves away from home	Bb · D · F	7×
V	C	Dominant — strongest pull home	C · E · G	3×
vi	Dm	Relative minor — the melancholy side	D · F · A	12×
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	12×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	23×
iv	Gm	Subdominant — moves away from home	G · Bb · D	8×
v	Am	Minor dominant — soft pull	A · C · E	6×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	1×
VI	Bb	Submediant — warm colour	Bb · D · F	7×
VII	C	Subtonic — steps back to the tonic	C · E · G	3×

Analysis

The key pair is F major and its relative D minor (1 flat). 7 different chords appear 60 times in total; 6 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 A is V/vi, a secondary dominant heading for Dm.

Chord movement

Am Dm Fiii → vi Dmv → inatural-minor cadence ×6
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×2
Gm Dm Fii → vi Dmiv → iminor plagal ×1
Bb F FIV → Iplagal cadence DmVI → III ×1

The move to watch is Am → Dm, heard 6 times. From the F side it reads iii → vi; from the Dm side it is v → i (natural-minor cadence: gentle, modal arrival). 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 F, land on F, A, C — 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
When A 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
2 semitones up

The song's harmonic story

Starting on F, the song gives away its key from the very first bar. The chords that keep coming back are F, Dm, Gm, Bb; read them as I–vi–ii–IV in F or III–i–iv–VI in Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. Ending on F, the song seals F 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.