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)
İrem Derici - Kurşun Adres Sormaz ki - Chord
Key F major – D minor Chords Dm, Gm, A, F, C, Bb, A7, Am … Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Gm A Dm F Bb A Dm
A Dm
Yine de sen, son sevdiğim
Gm C F
Uğruna sevgiler aşklar tükettiğim
A Dm
Yine de sen, tek bildiğim
Gm A7 Dm
Yollarına aşk tohumları serdiğim
F Gm
Bu can buna hayran sevişine kurban
C F
Alıştırmasaydın insafsız
Dm Gm
Bu can sana hayran gülüşüne kurban
Em A
Şimdi vazgeçemem ben inan
Dm
Kurşun adres sormaz ki
Am
Yaktın beni en derinden
Gm
Depremlerde yine yüreğim
Am
Yangınlar çaresiz
Gm
Dön gel yine sev beni
Dm
Sar sevgine sevgimi
Bb A Dm
Nefes gibi muhtacım sana
A Dm
Yine de ben hep seninim
Gm C F
İlk şarabı senin elinden içmişim
A Dm
Yine de sen ille de sen
Gm A7 Dm
Senin ilacın bil ki bende sevgilim
End of song Play again?
İrem Derici - Kurşun Adres Sormaz ki Tabs
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Harmony analysis
İrem Derici – Kurşun Adres Sormaz ki: key and chord analysis
The song opens on Dm and ends on Dm. 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 it both starts and finishes on Dm, Dm is heard 13 times against 5 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 5× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 9× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 2× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 8× |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 2× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 2× |
| V | C | Dominant — strongest pull home | C · E · G | 3× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 13× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 13× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| III | F | Relative major — the bright side | F · A · C | 5× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 9× |
| v | Am | Minor dominant — soft pull | A · C · E | 2× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 8× |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 2× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 2× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 3× |
Analysis
The key pair is F major and its relative D minor (1 flat). 9 different chords appear 45 times in total; 6 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. Em step outside the scale as colour chords.
Chord movement
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×8
- C F FV → Iauthentic cadence DmVII → III ×3
- Gm C Fii → Vii → V Dmiv → VII ×3
- A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×2
- Gm A7 Fii → V7/vi Dmiv → V7iv → V ×2
- Gm Dm Fii → vi Dmiv → iminor plagal ×1
The move to watch is A → Dm, heard 8 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → 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 Gm, land on G, Bb, D — 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
Starting on Dm, the song gives away its key from the very first bar. Dm, Gm, A, F carry the song: vi–ii–V/vi–I relative to F, i–iv–V–III relative to 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 A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. Ending on Dm, the song seals Dm as home.
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.
İrem Derici - Kurşun Adres Sormaz ki 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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