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Baturalp - Ölü İhtimal - Chord

Key F major – D minor Chords F, Dm, Gm, C, A7 Easy key C (capo 5)

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Capo 0 
F                       A7                      Dm
Ölü ihtimal belki bir gün sana sevgilim diyebilirim
                C
Bir pazar kahvaltısında
F                          A7
Biliyorum şansımı da kaybettim bunu umut etmek için
Dm                      C
 Biraz amatörceydi sözlerim
F                        A7                      Dm
Evet haklısın sen de böyle şeyler söyleseydin bana
                C
Hemen topuk olurdum ama mazeretim var
   F                   A7
Öyle güzel kokulur mu hiç
                             Dm              C
Beynime işlemiş bu nasıl bir iş sebebi buydu saçmalamamın 

Gm                           C
 Sen de suçlusun ben de suçluyum

Dm     F                 Gm
Of bebeğim birbirimize göre değilmişiz
Dm     F             Gm
Of bebeğim zaten hiç sevişemezmişiz
Dm     F               Gm
Of bebeğim belki bir gün sana sevgilim diyebilirim
Dm     F        Gm
Of bebeğim, bebeğim

F                     A7                   Dm
Battaniyem gibi sarıldım sanki en büyük kışım
                      C
Sarhoş eden gözlerinle beni ısıttın
F                    A7                           Dm
Tehlikeli bir maceraydı kalpler sağ yanımızda kaldı
                       C
İn artık göğsümden koş başka kollara

Gm                           C
 Sen de suçlusun ben de suçluyum

Dm     F                 Gm
Of bebeğim birbirimize göre değilmişiz
Dm     F             Gm
Of bebeğim zaten hiç sevişemezmişiz
Dm     F               Gm
Of bebeğim belki bir gün sana sevgilim diyebilirim
Dm     F        Gm
Of bebeğim, bebeğim

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Harmony analysis

Baturalp – Ölü İhtimal: key and chord analysis

The song opens on F and ends on Gm. 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: we can't honestly pick a side here — the song moves freely between F major and D minor because it opens on F and the major V chord points straight at Dm. Try reading the chords both ways and see which feels more like home to you.

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 14×
ii Gm Supertonic — prepares the dominant G · Bb · D 10×
iii Am Mediant — a tonic-family shade A · C · E —
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 —
V C Dominant — strongest pull home C · E · G 8×
vi Dm Relative minor — the melancholy side D · F · A 14×
vii° Edim Leading-tone chord — tension E · G · Bb —
Seen from D minor
Degree Chord Role Notes In song
i Dm Tonic — home D · F · A 14×
ii° Edim Supertonic — prepares the dominant E · G · Bb —
III F Relative major — the bright side F · A · C 14×
iv Gm Subdominant — moves away from home G · Bb · D 10×
v Am Minor dominant — soft pull A · C · E —
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 —
VII C Subtonic — steps back to the tonic C · E · G 8×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 52 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 A7 is V7/vi, a secondary dominant heading for Dm.

Chord movement

  1. A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×6
  2. Gm Dm Fii → vi Dmiv → iminor plagal ×6
  3. C F FV → Iauthentic cadence DmVII → III ×4
  4. C Dm FV → videceptive cadence DmVII → iAeolian arrival ×2
  5. Gm C Fii → Vii → V Dmiv → VII ×2

The move to watch is A7 → Dm, heard 6 times. From the F side it reads V7/vi → vi (secondary resolution: A7 resolves a fourth up to Dm); from the Dm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically). 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 F, land on F, A, C — 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 Gm, land on G, Bb, D — 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

    • 5 semitones down · capo 5 keeps the original pitch
    • 2 semitones up

    The song's harmonic story

    The opening F lays a solid floor for everything that follows. The chords that keep coming back are F, Dm, Gm, C; read them as I–vi–ii–V in F or III–i–iv–VII in Dm. 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 → Dm (V7/vi → vi in F, V7 → i in Dm): secondary resolution — A7 resolves a fourth up to Dm. Ending on Gm, the song seals F 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.

    Baturalp - Ölü İhtimal 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: Baturalp Yılmaz
    Music: Baturalp Yılmaz
    Arrangement: Baturalp Yılmaz
    Ertan Onur Gülanber
    Özgür Ede
    Çağdaş Topal
    Çağatay Işık

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