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)
Zuhal Olcay - İyisin - Chord
Key F major – D minor Chords Bb, Dm, A7, F, C, Dm7 Easy key G
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Key: F | Dm
Capo: 0
Dm Bb A7 Dm Bb A7
Dm F Bb A7 Dm F Bb A7
Dm
Şarkı söylerim beğenmezsin
Bb A7
Konuşurum dinlemezsin
Dm
Şakalarıma gülmezsin
Bb
İşin aslı sevgilim
Dm
Sen bana fazla iyisin, iyisin
Bb A7
Fazla
Dm
Yemeklerimden yemezsin
Bb A7
Arkadaşlarımı sevmezsin
Dm
Saçlarımı beğenmezsin
Bb
İşin aslı sevgilim
Dm
Sen bana fazla iyisin, iyisin
Bb A7
Fazla
Dm Bb A7
Ben hiç mükemmel değilim, belkide sıradan biriyim
Dm Bb A7
İşin aslı sevgilim sen bana fazla iyisin
Bb F
Çok gülerim kızarsın
C F
Ağlayınca kaçarsın
Bb F
Güzel bile bulmazsın
C Dm7
Sen bana fazla iyisin
C
Fazla
Dm Bb A7
Ben hiç mükemmel değilim, belkide sıradan biriyim
Dm Bb A7
İşin aslı sevgilim sen bana fazla iyisin
End of song Play again?
Zuhal Olcay - İyisin Tabs
NotesX
Harmony analysis
Zuhal Olcay – İyisin: key and chord analysis
The song opens on Dm and ends on A7. 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)
- #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 opens on Dm, Dm is heard 15 times against 5 for F 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 5× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| 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 | 12× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 16× |
| V | C | Dominant — strongest pull home | C · E · G | 3× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 14× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 1× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 14× |
| i7 | Dm7 | Tonic — home | D · F · A · C | 1× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 5× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| 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 | 12× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 16× |
| 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). 6 different chords appear 51 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
- A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×10
- Bb F FIV → Iplagal cadence DmVI → III ×2
- Bb Dm FIV → vi DmVI → iVI → i ×2
- C F FV → Iauthentic cadence DmVII → III ×1
- C Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×1
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
The move to watch is A7 → Dm, heard 10 times. From the Dm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi (secondary resolution: A7 resolves a fourth up to Dm). 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 Bb, land on Bb, D, F — 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 A7, land on A, C#, E — 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
- 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 chords that keep coming back are Bb, Dm, A7, F; read them as IV–vi–V7/vi–I in F or VI–i–V7–III 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): harmonic-minor cadence — the major V resolves dramatically. It closes on A7, 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.
Zuhal Olcay - İyisin 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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Lyrics: Leyla TunaMusic: Onno Tunç
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