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)
İkiye On Kala - Zehirli Bal - Chord
Key F major – D minor Chords Gm, Dm, Cm Easy key G
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Key: F | Dm
Capo: 0
Gm Dm Cm Gm
Gm
Bambaşkaydık seninle
Dm
Duramadın bi sözünde
Cm Gm
Şimdi parçala kendini neye yarar
Gm
Ne güzeldim senden önce
Dm
Ölüyorum ellerinde
Cm Gm
İnsan insana yapmaz bu kadar
Gm Dm
Sen zehirli bal
Cm Gm
Dostum oldu ayrılıklar
Dm
Sen zehirli bal
Cm Gm
Seven bendim mecnunun adı var
Gm
Çok yüklendim yine kendime
Dm
Yanımda olsan bi kere de
Cm Gm
Ağzına sakız olmuş yalanlar
Gm
Sen ne kadar gizlesen de
Dm
Kopuyoruz ince ince
Cm Gm
Sana iyi günler bana fırtınalar
Gm Dm
Sen zehirli bal
Cm Gm
Dostum oldu ayrılıklar
Dm
Sen zehirli bal
Cm Gm
Seven bendim mecnunun adı var
End of song Play again?
İkiye On Kala - Zehirli Bal Tabs
NotesX
Harmony analysis
İkiye On Kala – Zehirli Bal: key and chord analysis
The song opens on Gm and ends on Gm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because Dm is heard 9 times while F never appears. 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 | 16× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | — |
| v | Cm | Chromatic colour chordoutside the key | C · Eb · G | 9× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 9× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 9× |
| 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 | 16× |
| 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 | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
| vii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 9× |
Analysis
The key pair is F major and its relative D minor (1 flat). 3 different chords appear 34 times in total; 2 of them sit naturally inside the shared scale. Cm step outside the scale as colour chords.
Chord movement
- Gm Dm Fii → vi Dmiv → iminor plagal ×9
The move to watch is Gm → Dm, heard 9 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → 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 Cm, land on C, Eb, G — 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 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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. Gm, Dm, Cm carry the song: ii–vi–v relative to F, iv–i–vii relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. The final chord is Gm; 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.
İkiye On Kala - Zehirli Bal 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: UrasMusic: Furkan Yekta Özgenç ve UrasArrangement: Kadir Süzgün, Furkan Yekta Özgenç ve Uras
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