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)
Ayşe Özyılmazel - Sabıkalı - Chord
Key F major – D minor Chords Gm, Am, Dm, Bb Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Gm Am Dm Dm
Dm
Iki düşman gibi ölümüne kızgın
Gm Am
Bir birimize karşı
Dm
Nasıl bir mücadele verdiğimi bir sor
Gm Bb
Yokluğunun telaşı
Gm
Seni unuturda soğursa kalbim
Am
Başkası avutabilir
Bi gün gelip te kalmazsa
Gm Am
Tek bir anı ikimize dair
Dm
Yokuşa sürer gibi zorunu arar gibi
Gm Am
Kimden kaçıyorsun
Dm
Dava düşmüş kalp aşımından
Gm Bb
Bizi neye değişiyorsun
Gm
Beni unuturda soğursa kalbim
Am
Kim seni avutabilir
Bi gün gelip te kalmazsa
Gm Am
Tek bir anı ikimize dair
Gm Am Dm
Sabıkalı kalpten sabıkalı
Gm Am Dm
Ağlamalı göstermeden ağlamalı
Gm Am Dm
Bu ne aşk filmiii nede peri masalı
Gm Am Dm
Ağlamalı göstermeden ağlamalı
End of song Play again?
Ayşe Özyılmazel - Sabıkalı Tabs
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Harmony analysis
Ayşe Özyılmazel – Sabıkalı: key and chord analysis
The song opens on Gm 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it comes to rest on Dm and Dm is heard 10 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 | 13× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 11× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 2× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 10× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 10× |
| 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 | 13× |
| v | Am | Minor dominant — soft pull | A · C · E | 11× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 2× |
| 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 36 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×8
The move to watch is Am → Dm, heard 8 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → 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 Am, land on A, C, E — 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.
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 first chord is Gm; the ear learns where home is within a second. The chords that keep coming back are Gm, Am, Dm, Bb; read them as ii–iii–vi–IV in F or iv–v–i–VI in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. It closes on Dm, 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.
Ayşe Özyılmazel - Sabıkalı 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: Ayşe Özyılmazel
Mert EkrenMusic: Ayşe Özyılmazel
Mert EkrenArrangement: Mustafa Ceceli
Mert EkrenMusic: Ayşe Özyılmazel
Mert EkrenArrangement: Mustafa Ceceli
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