Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Resul Dindar - Dedikodu - Chord
Key Bb major – G minor Chords Gm, Cm, F Easy key C
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Key: Bb | Gm
Capo: 0
Cm Gm F Gm Cm Gm Sardi dedikodumuz F Gm Sardi dedikodumuz Cm Gm Arhavi’yi Hopa’yi F Gm Arhavi’yi Hopa’yi Cm Gm Bi sevda ettuk diye F Gm Bi sevda ettuk diye Cm Gm Kiyamet mi kopayi F Gm Kiyamet mi kopayi Cm Gm Karayemiş ustine F Gm Karayemiş ustine Cm Gm Tutar misun dallari F Gm Tutar misun dallari Cm Gm Ben da gelsam yanuna F Gm Ben da gelsam yanuna Cm Gm Her Ağustos aylari F Gm Her Ağustos aylari Cm Gm Mençuna’dan aşaği F Gm Mençuna’dan aşaği Cm Gm Senun içun akayim F Gm Senun içun akayim Cm Gm Beni anlaman içun F Gm Beni anlaman içun Cm Gm Hopa’yimi yakayim F Gm Hopa’yimi yakayim Cm Gm İkumuzun arasi F Gm İkumuzun arasi Cm Gm Fenerun tam orasi F Gm Fenerun tam orasi Cm Gm Kopmiş’te buluşalum F Gm Kopmiş’te buluşalum Cm Gm Verilsun çay parasi F Gm Verilsun çay parasi
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Resul Dindar - Dedikodu Tabs
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Harmony analysis
Resul Dindar – Dedikodu: key and chord analysis
The song opens on Cm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it comes to rest on Gm and Gm is heard 34 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 17× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | 17× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 34× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 34× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 17× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 17× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 3 different chords appear 68 times in total; 3 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
- Cm Gm Bbii → vi Gmiv → iminor plagal ×17
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×17
The move to watch is Cm → Gm, heard 17 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Gm, Cm, F; read them as vi–ii–V in Bb or i–iv–VII in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. Ending on Gm, the song seals Gm 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.
Resul Dindar - Dedikodu 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: Fatih Sultan Kar
Resul DindarMusic: Resul Dindar
Resul DindarMusic: Resul Dindar
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