Sezen Aksu - İkili Delilik - Chord

Key F major – D minor Chords Dm7, Bb, A7, Gm7, Am7, C Easy key G

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Capo 0

Dm7  C  Bb  Gm7  Dm7

Dm7
Artık hayatımdan çıksan diyorum 
Am7
Bu ikili delilik sona erse
Gm7                             Dm7
İkimiz için de en hayırlısını diliyorum

Dm7
Hiç olmamış gibi davranabilmeyi
A7
Bu yok ediciliği anlayabilmeyi
Gm7              Bb  A7      Dm7
Bir bilsen ne kadar yürekten istiyorum 

Dm7
Lütfen görmeyeyim seni
Am7
Bir yerlerde karşıma çıkma
C                  Bb          Gm7
Konuşmayalım, bakışmayalım, ne olursun 

Bb                           Am7
Daha fazla tükenmeye takatim yok


Dm7                    A7
Sanki aşkı öğütmeye programlı gibiyiz
Bb             Gm7            A7    
Aslına bakarsan insan olarak iyiyiz 
          Dm7                    A7
Ama daha fazlasını isteme benden yalvarırım
Bb                    A7
Ben bittim artık kalmadım
Bb                    Dm7
Ben bittim artık kalmadım

End of song Play again?

Sezen Aksu - İkili Delilik Tabs

NotesX

Harmony analysis

Sezen Aksu – İkili Delilik: key and chord analysis

The song opens on Dm7 and ends on Dm7. 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 both starts and finishes on Dm, Dm is heard 10 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	5×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	3×
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	6×
IV	Bb	Subdominant — moves away from home	Bb · D · F	7×
V	C	Dominant — strongest pull home	C · E · G	2×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	10×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	10×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	5×
v7	Am7	Minor dominant — soft pull	A · C · E · G	3×
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	6×
VI	Bb	Submediant — warm colour	Bb · D · F	7×
VII	C	Subtonic — steps back to the tonic	C · E · G	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 33 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 Dm7 FV7/vi → vi7secondary resolution DmV7 → i7harmonic-minor cadence ×2
Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×2
Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×1
Gm7 A7 Fii7 → V7/vi Dmiv7 → V7iv → V ×1
Bb Dm7 FIV → vi7 DmVI → i7VI → i ×1

The move to watch is A7 → Dm7, heard 2 times. From the Dm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi7 (secondary resolution: A7 resolves a fourth up to Dm7). 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — 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

The first chord is Dm7; the ear learns where home is within a second. The backbone is Dm7, Bb, A7, Gm7 — vi7–IV–V7/vi–ii7 from the F side, i7–VI–V7–iv7 from the Dm side. 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 → Dm7 (V7/vi → vi7 in F, V7 → i7 in Dm): harmonic-minor cadence — the major V resolves dramatically. It closes on Dm7, letting the Dm 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.