Sıla - En Doğru Zaman - Chord

Key A major – F# minor Chords C#m, Bm, F#m, D, F# Easy key C

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Capo 0

F#m           D   C#m      Bm     C#m
Unutmamışım hala atamadım gözlerimden
F#m             D            C#m         Bm    C#m
Fotoğraflardan yüzüme acıyla bakıyorum ıraklardan
F#m          D             C#m          Bm    C#m
Büyük izler kalıyor sorma kapattığımız yaralardan
F#m        D             C#m     Bm    C#m
Endişeler ve korkularla oluyoruz hayatlardan

       F#m                    D
Yeni bi hayat kurdum, içine huzur koydum
Bm                C#m         
Yaslandım arkama, dünü kovdum
    F#m                   D
Bir hayat kurdum, içine huzur koydum
Bm                 C#m         
Yaslandım arkama, seni kovdum

F#m              C#m
En doğru zaman canın istediği zaman
Bm                C#m
Anlaştığın zaman kendinle
D              C#m             F#
En doğru zaman canın istediği zaman
Bm                C#m
Anlaştığın zaman kendinle

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Sıla - En Doğru Zaman Tabs

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Harmony analysis

Sıla – En Doğru Zaman: key and chord analysis

The song opens on F#m and ends on C#m. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

7 = G# (leading tone, pulls home)
4 = D (the note that leans on the 3rd)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F# minor side because it opens on F#m and F#m is heard 7 times while A never appears. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
ii	Bm	Supertonic — prepares the dominant	B · D · F#	8×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	14×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	7×
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	7×
V/ii	F#	Secondary dominant V/ii — leads to Bmsecondary dominant	F# · A# · C#	1×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	7×
V/iv	F#	Secondary dominant V/iv — leads to Bmsecondary dominant	F# · A# · C#	1×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
iv	Bm	Subdominant — moves away from home	B · D · F#	8×
v	C#m	Minor dominant — soft pull	C# · E · G#	14×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	7×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 37 times in total; 4 of them sit naturally inside the shared scale. F# acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

C#m F#m Aiii → vi F#mv → inatural-minor cadence ×6

The move to watch is C#m → F#m, heard 6 times. From the F#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the A side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over F#m, 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The first chord is F#m; the ear learns where home is within a second. The backbone is C#m, Bm, F#m, D — iii–ii–vi–IV from the A side, v–iv–i–VI from the F#m side. F# adds a moment of surprise: secondary dominant V/ii — leads to Bm. Keep an ear on C#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. The final chord is C#m; the ear comes to rest in A.

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.