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 - Gel Desem İşin Vardır Falan - Chord
Key F major – D minor Chords Dm, E7, Gm, Am Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm E7 Nasıl söylesem mesela ölüyorum desem yeridir yeridir Dm E7 Her zaman böyle olması biraz gariptir tecrübeyle sabittir Dm E7 Gündüzleri ağlamaktan korkar mı insan Dm E7 Onca kalabalık içinde mesela otobüste Gm Dm Şimdi yani çıkıp gel desem İşin vardır falan E7 Am Hoş ben de birazdan uyucam Gm Dm Hani vardı ya neydi o laf Darabrararam E7 Am Ya da bunun gibi bir şeydi Dm E7 Nasıl söylesem mesela ölüyorum desem yeridir yeridir Dm E7 Her zaman böyle olması biraz gariptir tecrübeyle sabittir Dm E7 Gündüzleri ağlamaktan korkar mı insan Dm E7 Onca kalabalık içinde mesela otobüste Gm Dm Şimdi yani çıkıp gel desem İşin vardır falan E7 Am Hoş ben de birazdan uyucam Gm Dm Hani vardı ya neydi o laf Darabrararam E7 Am Ya da bunun gibi bir şeydi
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İkiye On Kala - Gel Desem İşin Vardır Falan Tabs
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Harmony analysis
İkiye On Kala – Gel Desem İşin Vardır Falan: key and chord analysis
The song opens on Dm and ends on Am. 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 it opens on Dm and Dm is heard 12 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 | 4× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 4× |
| 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 | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 12× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| V7/iii | E7 | Secondary dominant V/iii — leads to Amsecondary dominant | E · G# · B · D | 12× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 12× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| V7/v | E7 | Secondary dominant V/v — leads to Amsecondary dominant | E · G# · B · D | 12× |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 4× |
| v | Am | Minor dominant — soft pull | A · C · E | 4× |
| 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 | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 32 times in total; 3 of them sit naturally inside the shared scale. E7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Gm Dm Fii → vi Dmiv → iminor plagal ×4
- E7 Am FV7/iii → iiisecondary resolution DmV7/v → v ×4
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×1
The move to watch is Gm → Dm, heard 4 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over E7, land on E, G#, B — 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.
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
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The backbone is Dm, E7, Gm, Am — vi–V7/iii–ii–iii from the F side, i–V7/v–iv–v from the Dm side. E7 adds a moment of surprise: secondary dominant V/iii — leads to Am. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. It closes on Am, letting the F 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.
İkiye On Kala - Gel Desem İşin Vardır Falan 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: Uras
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