İkilem - İçiyorum Ederimize - Tuğba Yurt - Chord

Key Db major – Bb minor Chords Fm, Ebm, Bbm, Gb, Ab, Db Easy key C (capo 1)

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Capo 0

Bbm       Ab             Db
Hiç usanmadan verdiğim savaşlar
             Ebm   Fm      Bbm
İnan ki yordular beni yavaştan
            Ab             Db
Sorunca kalbime, faili bir aşk var
              Ebm    Fm      Bbm
Benim bu derdime çaresiz ilaçlar

              Ebm    Fm      Gb
Benim bu derdime çaresiz ilaçlar

Bbm      Ab
Biliyoruz biri yalancı
Gb              Fm
Yaşanan her şey yabancı
Ebm      Fm         Gb  Ab
Kaybeden benmişim harbi
Bbm       Ab
Sana değil kaderimize
Gb            Fm
İçiyorum ederimize
Ebm     Fm           Gb
Kahreden sendin bu kalbi
x2

Bbm  Fm  Ebm  Ebm  Gb  Fm  Ebm  Bbm

Bbm           Ab               Db
Masamda bir resim içimde bir telaş var
              Ebm  Fm        Bbm
Gözüm dalar yine suretin uzakta
           Ab         Db
Sorunca kalbime faili bir aşk var
              Ebm  Fm        Gb
Benim bu derdime çaresiz ilaçlar

Bbm      Ab
Biliyoruz biri yalancı
Gb              Fm
Yaşanan her şey yabancı
Ebm      Fm         Gb  Ab
Kaybeden benmişim harbi
Bbm       Ab
Sana değil kaderimize
Gb            Fm
İçiyorum ederimize
Ebm     Fm           Gb
Kahreden sendin bu kalbi
x2

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İkilem - İçiyorum Ederimize - Tuğba Yurt Tabs

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Harmony analysis

İkilem – İçiyorum Ederimize - Tuğba Yurt: key and chord analysis

The song opens on Bbm and ends on Gb. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

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)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

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 and Bbm is heard 11 times against 4 for Db. 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	4×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	12×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	15×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	11×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	10×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	11×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	11×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	4×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	12×
v	Fm	Minor dominant — soft pull	F · Ab · C	15×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	11×
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 63 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

Ab Db DbV → Iauthentic cadence BbmVII → III ×4
Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×3
Gb Bbm DbIV → vi BbmVI → iVI → i ×3
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×2
Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×1

The move to watch is Ab → Db, heard 4 times. From the Bbm side it is VII → III; from the Db side it reads V → I (authentic cadence: the strongest arrival home). 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Ebm, land on Eb, Gb, Bb — 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.

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

Starting on Bbm, the song gives away its key from the very first bar. The backbone is Fm, Ebm, Bbm, Gb — iii–ii–vi–IV from the Db side, v–iv–i–VI from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Db (V → I in Db, VII → III in Bbm): authentic cadence — the strongest arrival home. Ending on Gb, the song seals Db 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.