Hande Ünsal - İyi misin - Chord

Key F major – D minor Chords Dm, C, Gm, Gm7, Am7, A7, F, Edim … Easy key C (capo 5)

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Capo 0

Dm             C
Tutuyorum kendimi
     Gm7
Yine zar zor
    Am7
Ama bak aramadım

Dm            C            Gm7
Sen kim bilir kaçıncı uykundasın
             A7
Rahat mısın

Dm              C         Gm7
Yoksa benim gibi berbat mısın
    Am7
Onu da soramadım
Dm             C
Sadece merak ettim
      Gm         A7
İyi misin, diye

      Dm   C         Gm   Am
İyi misin, ah, iyi misin
      Dm  C      Gm  A7
İyi misin, iyi misin

     F       Edim
Bi kırık kalem
   F       Edim
Bi yarım satır
Bbmaj7      Am7  Gm
Ağır geliyor,     ya sabır

F     Edim    F     Edim
Kalbim çığlık çığlığa
Bbmaj7  Am7     Gm7
Yar  sağır mısın aşka

      Dm  C      Gm   Am
İyi misin, iyi misin
      Dm  C      Gm  A7
İyi misin, iyi misin

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Hande Ünsal - İyi misin Tabs

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Harmony analysis

Hande Ünsal – İyi misin: 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.

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 D minor side because it opens on Dm, Dm is heard 8 times against 4 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	4×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	6×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	4×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	4×
iii	Am	Mediant — a tonic-family shade	A · C · E	2×
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	4×
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	2×
V	C	Dominant — strongest pull home	C · E · G	8×
vi	Dm	Relative minor — the melancholy side	D · F · A	8×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	4×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	8×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	4×
III	F	Relative major — the bright side	F · A · C	4×
iv	Gm	Subdominant — moves away from home	G · Bb · D	6×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	4×
v7	Am7	Minor dominant — soft pull	A · C · E · G	4×
v	Am	Minor dominant — soft pull	A · C · E	2×
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	4×
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	2×
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). 10 different chords appear 46 times in total; 9 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

Gm A7 Fii → V7/vi Dmiv → V7iv → V ×3
A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×2
Am7 Dm Fiii7 → vi Dmv7 → inatural-minor cadence ×2
Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
Gm7 Dm Fii7 → vi Dmiv7 → iminor plagal ×1
Gm7 A7 Fii7 → V7/vi Dmiv7 → V7iv → V ×1

The move to watch is Gm → A7, heard 3 times. From the Dm side it is iv → V7 (iv → V: the minor side's tension builder); from the F side it reads ii → V7/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 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.
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 first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, C, Gm, Gm7; read them as vi–V–ii–ii7 in F or i–VII–iv–iv7 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 Gm → A7 (ii → V7/vi in F, iv → V7 in Dm): iv → V — the minor side's tension builder. 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.