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)
Ansızın Bi İnfilak - Kimse Kimseyi Sevmesin - Chord
Key F major – D minor Chords Gm, Dm, A, Bb, C, A7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Gm A Dm Dm
Gm A Dm
Korkuyorum artık birini severken
Gm A Dm
Neden diye sorma
Gm A Dm
Yerine koyduğum her şey bir bir kırılıyor
Gm A Dm
Ne olur beni yorma
Gm A Dm
Sordum dün yine kendime, neyimiz eksikti?
Gm A Dm
Diye bulamadım
Gm A Dm
Arattım bir bir anılarımı
Gm A Dm
Eski yaralarımı kanattım
Gm A7
Eski yaralarımı kanattım
Dm Gm A
Dur, dur, dur nerden çıktı şimdi gitmek?
Dm Gm A
Dur, dur, dur nerden çıktı şimdi gitmek?
Bb C
Su gibi akıp sen de gidiyorsan
Bb C
Kimse kimseyi sevmesin o zaman
Bb A7
Kimse kimseyi sevmesin
Dm C Bb Gm Dm C Bb Gm Gm Bb A
Gm A Dm
Belli ki yorulmuşsun katlanırken bana
Gm A Dm
Belki de ondan dudakların hep yara
Gm A Dm
Bu yüzden mi kaçıyor gibisin benden?
Gm A Dm
Belki de bu son gidişin
Gm A Dm
Tamam kötü olan ben olayım
Gm A Dm
Nasıl istersen sevgilim
Gm A7
Nasıl istersen sevgilim
Dm Gm A
Dur, dur, dur nerden çıktı şimdi gitmek?
Dm Gm A
Dur, dur, dur nerden çıktı şimdi gitmek?
Bb C
Su gibi akıp sen de gidiyorsan
Bb C
Kimse kimseyi sevmesin o zaman
Bb A7
Kimse kimseyi sevmesin
End of song Play again?
Ansızın Bi İnfilak - Kimse Kimseyi Sevmesin Tabs
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Harmony analysis
Ansızın Bi İnfilak – Kimse Kimseyi Sevmesin: key and chord analysis
The song opens on Gm 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 Dm is heard 22 times while F never appears 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 24× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 20× |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 4× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 9× |
| V | C | Dominant — strongest pull home | C · E · G | 6× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 22× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 22× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 24× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 20× |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 4× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 9× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 6× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 85 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 A / A7 is V/vi, a secondary dominant heading for Dm.
Chord movement
- Gm A Fii → V/vi Dmiv → Viv → V ×19
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×17
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×4
- A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×3
- Gm A7 Fii → V7/vi Dmiv → V7iv → V ×2
- Gm Dm Fii → vi Dmiv → iminor plagal ×1
The move to watch is Gm → A, heard 19 times. From the Dm side it is iv → V (iv → V: the minor side's tension builder); from the F side it reads ii → V/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 Gm, land on G, Bb, D — 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 A, land on A, C#, E — 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
The first chord is Gm; the ear learns where home is within a second. The chords that keep coming back are Gm, Dm, A, Bb; read them as ii–vi–V/vi–IV in F or iv–i–V–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 Gm → A (ii → V/vi in F, iv → V in Dm): iv → V — the minor side's tension builder. The final chord is A7; the ear comes to rest in F.
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.
Ansızın Bi İnfilak - Kimse Kimseyi Sevmesin 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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