Baturalp - Ölü İhtimal - Chord

Key F major – D minor Chords F, Dm, Gm, C, A7 Easy key C (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

F                       A7                      Dm
Ölü ihtimal belki bir gün sana sevgilim diyebilirim
                C
Bir pazar kahvaltısında
F                          A7
Biliyorum şansımı da kaybettim bunu umut etmek için
Dm                      C
 Biraz amatörceydi sözlerim
F                        A7                      Dm
Evet haklısın sen de böyle şeyler söyleseydin bana
                C
Hemen topuk olurdum ama mazeretim var
   F                   A7
Öyle güzel kokulur mu hiç
                             Dm              C
Beynime işlemiş bu nasıl bir iş sebebi buydu saçmalamamın 

Gm                           C
 Sen de suçlusun ben de suçluyum

Dm     F                 Gm
Of bebeğim birbirimize göre değilmişiz
Dm     F             Gm
Of bebeğim zaten hiç sevişemezmişiz
Dm     F               Gm
Of bebeğim belki bir gün sana sevgilim diyebilirim
Dm     F        Gm
Of bebeğim, bebeğim

F                     A7                   Dm
Battaniyem gibi sarıldım sanki en büyük kışım
                      C
Sarhoş eden gözlerinle beni ısıttın
F                    A7                           Dm
Tehlikeli bir maceraydı kalpler sağ yanımızda kaldı
                       C
İn artık göğsümden koş başka kollara

Gm                           C
 Sen de suçlusun ben de suçluyum

Dm     F                 Gm
Of bebeğim birbirimize göre değilmişiz
Dm     F             Gm
Of bebeğim zaten hiç sevişemezmişiz
Dm     F               Gm
Of bebeğim belki bir gün sana sevgilim diyebilirim
Dm     F        Gm
Of bebeğim, bebeğim

End of song Play again?

Baturalp - Ölü İhtimal Tabs

NotesX

Harmony analysis

Baturalp – Ölü İhtimal: key and chord analysis

The song opens on F and ends on Gm. 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: we can't honestly pick a side here — the song moves freely between F major and D minor because it opens on F and the major V chord points straight at Dm. Try reading the chords both ways and see which feels more like home to you.

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	14×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	10×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	6×
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	8×
vi	Dm	Relative minor — the melancholy side	D · F · A	14×
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	14×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	14×
iv	Gm	Subdominant — moves away from home	G · Bb · D	10×
v	Am	Minor dominant — soft pull	A · C · E	—
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	6×
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	8×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 52 times in total; 4 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

A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×6
Gm Dm Fii → vi Dmiv → iminor plagal ×6
C F FV → Iauthentic cadence DmVII → III ×4
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×2
Gm C Fii → Vii → V Dmiv → VII ×2

The move to watch is A7 → Dm, heard 6 times. From the F side it reads V7/vi → vi (secondary resolution: A7 resolves a fourth up to Dm); from the Dm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically). 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 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
2 semitones up

The song's harmonic story

The opening F lays a solid floor for everything that follows. The chords that keep coming back are F, Dm, Gm, C; read them as I–vi–ii–V in F or III–i–iv–VII in 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 A7 → Dm (V7/vi → vi in F, V7 → i in Dm): secondary resolution — A7 resolves a fourth up to Dm. Ending on Gm, 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.