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 - Anksiyetem Tavan - Chord
Key F major – D minor Chords Bbmaj7, Am, F, C, Dm, Gm Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm F C Am Bbmaj7 Gm F
F Am
Anladım anladıkça canım yandı gitti
Bbmaj7 C Dm
Yedim ömrümü insanın piçiyle bitti
Bbmaj7 Am
Hep bi kavga dövüş hep yokuş benimkisi
Bbmaj7 Dm
Güzel günlerim göz altında şimdi
Bbmaj7 C Am
Gemiler batıyo hayaller sönüyo
Bbmaj7 Gm Am
Kimin bu gökyüzü burdan görünmüyo
Dm F
Hayat boktan anksiyetem tavan
C Am
Yok bi numaram ve planım falan
Bbmaj7 Gm
Keyfim az nabzım yavaş
F
Yanımda bikaç dandik arkadaş
Dm F C Am Bbmaj7 Gm F
F Am
Kimseye anlatamazsın bu yorgun halini
Bbmaj7 C Dm
Bu kalple barındırmazlar burda seni
Bbmaj7 Am
Herkese her şeyi verdin ama bitti
Bbmaj7 C Dm
Hayat güzel diyen herkes bin pişman şimdi
Bbmaj7
Hep kötüler kazanıyo
C Am
İçim içime sığmıyo
Bbmaj7 Gm Am
İlaçlar şarkılar uyumaya yetmiyo
Dm F
Hayat boktan anksiyetem tavan
C Am
Yok bi numaram ve planım falan
Bbmaj7 Gm
Keyfim az nabzım yavaş
F
Yanımda bikaç dandik arkadaş
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İkiye On Kala - Anksiyetem Tavan Tabs
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Harmony analysis
İkiye On Kala – Anksiyetem Tavan: key and chord analysis
The song opens on Dm and ends on F. 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 F major side because it comes to rest on F, it opens on Dm and F is heard 10 times against 8 for Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
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 | 6× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 12× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 14× |
| V | C | Dominant — strongest pull home | C · E · G | 9× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 8× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 8× |
| 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 | 6× |
| v | Am | Minor dominant — soft pull | A · C · E | 12× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 14× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 9× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 59 times in total; 6 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
- Bbmaj7 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×5
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×3
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
- Bbmaj7 Dm FIVmaj7 → vi DmVImaj7 → iVI → i ×1
The move to watch is Bbmaj7 → C, heard 5 times. From the F side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the Dm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). 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 Bbmaj7, land on Bb, D, F — 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 F, land on F, A, C — 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
Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Bbmaj7, Am, F, C; read them as IVmaj7–iii–I–V in F or VImaj7–v–III–VII in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → C (IVmaj7 → V in F, VImaj7 → VII in Dm): IV → V — the lift that builds tension before home. The final chord is F; the ear comes to rest in F.
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 - Anksiyetem Tavan 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: UrasArrangement: Furkan Yekta Özgenç
Uras
Uras
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