Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Feride Hilal Akın - Dedikodu - Chord
Key C major – A minor Chords Fmaj7, Em7, Am7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Fmaj7 Em7
Bir dedikodu var ortalıkta
Hakkımda atmışsın
Am7
Geçici bir hevesmişim
Sevmiyormuşsun beni
Fmaj7
Bir bir anlatmışsın
Em7
Bizde kalan gerçekleri
Am7
İçine de katmışsın
Bize ekmediğin çiceği
Fmaj7
Öyle demiyordu gözlerin
Em7
Tuttuğundu hani ilk ilk ellerim
Am7
Hala aklımda bu ilk deyişin
Fmaj7 Em7
Bir dedikodu var ortalıkta
Hakkımda atmışsın
Am7
Geçici bir hevesmişim
Sevmiyormuşsun beni
Fmaj7
Bir bir anlatmışsın
Em7
Bizde kalan gerçekleri
Am7
İçine de katmışsın
Bize ekmediğin çiceği
Fmaj7
Ben inandım o sözlere
Em7
Ben yokken kapalı o gözlere
Am7
Aklıma gelmiyordu bir kere
Bensiz benden bahsedeceğin
Fmaj7
Anlamazdın söyleneni
Em7
Sen şaşırdın yörüngeni
Am7
Ben olduğum yerde bekleyeni
Olamam bu aşkın
Fmaj7 Em7
Bir dedikodu var ortalıkta
Hakkımda atmışsın
Am7
Geçici bir hevesmişim
Sevmiyormuşsun beni
Fmaj7
Bir bir anlatmışsın
Em7
Bizde kalan gerçekleri
Am7
İçine de katmışsın
Bize ekmediğin çiceği
Fmaj7
Bir dedikodu var
Em7
Anlatmışsın her şeyi
Am7
İçine de ekmişsin her şeyi
End of song Play again?
Feride Hilal Akın - Dedikodu Tabs
NotesX
Harmony analysis
Feride Hilal Akın – Dedikodu: key and chord analysis
The song opens on Fmaj7 and ends on Am7. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because it comes to rest on Am and Am is heard 10 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 10× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 10× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 10× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 10× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 10× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 10× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 30 times in total; 3 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×10
The move to watch is Em7 → Am7, heard 10 times. From the Am side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Fmaj7; the ear learns where home is within a second. The backbone is Fmaj7, Em7, Am7 — IVmaj7–iii7–vi7 from the C side, VImaj7–v7–i7 from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am7 (iii7 → vi7 in C, v7 → i7 in Am): natural-minor cadence — gentle, modal arrival. It closes on Am7, letting the Am 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 - Dedikodu 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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