Anıl Durmuş - Artık Olmaman Gerek - Chord

Key F major – D minor Chords Bb, Am, Dm, C Easy key G

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Dm                                    Am
Artık hayatım paylaşacak kadar iyi değil
                          Dm
Kelimelerle kavgalıyım yine 
                       Bb
Kendimle konuşmam bile gereksiz
       C                 Bb           Am
Hiç durmadan susan yüzüm artık yok gitmiş

Dm                                   Am
Kalkıp kimseye günaydın demiyorum artık
                      Dm
Nasılsa kasvet arkadaşım
                           Bb
Tek gözümle andım bu sefer seni
      C        Bb            Am
Artık diğeri ağlayacak kadar iyi değil

Dm
Sanki her gün o gün gibi durgun
                      C
Anlamadan hayal etmeseydim hiç
                        Bb
Gerçeğim artık hayaline vurgun
         C      Bb      Am
Ne istediğimi artık biliyorum

Dm
Ne oldu ki ne yaptın sanki bana
                     Am
Kızamıyorum bu yüzden duymamana
      C                        Bb
Artık olmaman gerek bu seni duymama sebep
                        C             Bb     Am
Bak duydum yine yeniden çünkü artık olmaman gerek

End of song Play again?

Anıl Durmuş - Artık Olmaman Gerek Tabs

NotesX

Harmony analysis

Anıl Durmuş – Artık Olmaman Gerek: key and chord analysis

The song opens on Dm and ends on Am. Its chords belong to both F major and Dm, so every chord below is read both ways.

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)

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 D minor side because it opens on Dm and Dm is heard 6 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	7×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	8×
V	C	Dominant — strongest pull home	C · E · G	6×
vi	Dm	Relative minor — the melancholy side	D · F · A	6×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
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	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
v	Am	Minor dominant — soft pull	A · C · E	7×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	8×
VII	C	Subtonic — steps back to the tonic	C · E · G	6×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 27 times in total; 4 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

Am Dm Fiii → vi Dmv → inatural-minor cadence ×5
Bb C FIV → VIV → V DmVI → VIIVI → VII ×4

The move to watch is Am → Dm, heard 5 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. 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 Bb, 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 Dm, land on D, F, A — 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

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Dm lays a solid floor for everything that follows. The backbone is Bb, Am, Dm, C — IV–iii–vi–V from the F side, VI–v–i–VII from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. Ending on Am, the song seals F 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.