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)
Cici Kızlar - Delisin - Chord
Key F major – D minor Chords Gm, F, A, Dm Easy key C (capo 5)
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Key: F | Dm
Capo: 0
F Gm Gm F F Gm Gm A
Lallallalla
Dm
Ah kalbim ben senden çok çektim
Söyle nedir bu halin
A
Valla sen delisin delisin
Olmaz ki böyle çarpılmaz ki
Dm
Çıldırmışsın sanki valla sen delisin
F Gm
Ne olmuş birden gördüysen onu
F
Ömründe ilk gördüğün erkek o mu
Gm
Aman sus sus duymasınlar sesini
A
Göğsümden koparır atarım seni la la la
Dm
Delisin delisin delisin
Delisin delisin
F Gm Gm F F Gm Gm A
Lallallalla
Dm
Bu kaçıncı sevgi belki 45 50
Ben bildim bileli
A
Kalbim sen delisin delisin
Hiç mi ders almazsın
Bir an boş durmazsın
Dm
Fikrimi sormazsın vallahi delisin
F Gm
Anlaşıldı sen duruncaya dek
F
Bu iş hep böyle sürüp gidecek
Gm
Aşk her zaman bağrına saplı bir ok
A
Senden bana hiç rahat yüzü yok la la la
Dm
Delisin delisin delisin
Delisin delisin
End of song Play again?
Cici Kızlar - Delisin Tabs
NotesX
Harmony analysis
Cici Kızlar – Delisin: key and chord analysis
The song opens on F 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: we can't honestly pick a side here — the song moves freely between F major and D minor because it comes to rest on Dm, it opens on F, F is heard 10 times against 6 for Dm 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 10× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 12× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 6× |
| 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 | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 6× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 10× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 12× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 6× |
| 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 34 times in total; 3 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 is V/vi, a secondary dominant heading for Dm.
Chord movement
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×6
- Gm A Fii → V/vi Dmiv → Viv → V ×4
The move to watch is A → Dm, heard 6 times. From the F side it reads V/vi → vi; from the Dm side it is V → 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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
The opening F lays a solid floor for everything that follows. The backbone is Gm, F, A, Dm — ii–I–V/vi–vi from the F side, iv–III–V–i from the Dm side. 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.
Cici Kızlar - Delisin 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: Atilla ÖzdemiroğluMusic: Atilla Özdemiroğlu
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