Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
İkiye On Kala - Koptu İpim Düşüyorum - Chord
Key Db major – Bb minor Chords Ab, Bbm, Gb, Fm, Ebm, F Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Ab
Sana koşuyorum ölmesem diyorum
Bbm Ab
Dönüyor başım seni seviyorum
Bbm Ab
Öyle bakınca yanlış anlıyorum
Gb Ab
Koptu ipim düşüyorum
Bbm Fm
Ben kimim seyir defterimi kaybettim
Gb Ab
Boşver dedim kepenklerimi indirdim
Bbm Fm
Uzandım bulutları izledim
Gb Ab
Hepsini eninde sonunda sana benzettim
Gb Ebm F
Yasak bir kitap gibiyim bodrum katında
Gb Ebm F
Saygı duyduğum bi şey yok şu hayatta
Bbm Ab
Sana koşuyorum ölmesem diyorum
Bbm Ab
Dönüyor başım seni seviyorum
Bbm Ab
Öyle bakınca yanlış anlıyorum
Gb Ab
Koptu ipim düşüyorum
End of song Play again?
İkiye On Kala - Koptu İpim Düşüyorum Tabs
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Harmony analysis
İkiye On Kala – Koptu İpim Düşüyorum: key and chord analysis
The song opens on Bbm and ends on Ab. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
- #7 = A (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 Bb minor side because it opens on Bbm, Bbm is heard 8 times while Db never appears and the major V chord points straight at Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 2× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 2× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | 2× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 6× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 10× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 8× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 8× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 2× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 2× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | 2× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 6× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 10× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 30 times in total; 5 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F is V/vi, a secondary dominant heading for Bbm.
Chord movement
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×6
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×4
- Ebm F Dbii → V/vi Bbmiv → Viv → V ×2
- F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×1
The move to watch is Ab → Bbm, heard 6 times. From the Bbm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Db side it reads V → vi (deceptive cadence: expected Db, lands on Bbm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- When F comes, swap the scale's Ab for A: 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The first chord is Bbm; the ear learns where home is within a second. Ab, Bbm, Gb, Fm carry the song: V–vi–IV–iii relative to Db, VII–i–VI–v relative to Bbm. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Ab → Bbm (V → vi in Db, VII → i in Bbm): Aeolian arrival — rises a whole tone into home. The final chord is Ab; the ear comes to rest in Db.
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 - Koptu İpim Düşüyorum 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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