Birileri - Bir Şey Yapmak - Chord

Key A major – F# minor Chords Bm, E, F#m, D, C#, A, C#7 Easy key G (capo 2)

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Capo 0

F#m  Bm

F#m
Kuş boku sinekliğin üstünde durur, talihimin gözleri hâlâ görmüyor

Rengi atık pantolonum cepleri kelimenin birinci anlamında deliktir
                                                    E
İçine düştüğüm bu kavgada elimde ne bir taş ne de sopa var
            Bm
Değişken hallerim sinir bozar
   F#m             E                Bm
Aralarından biri koşar adım geliyor üstüme

       D
Bu tanıdık bi duygu
    F#m          E
İsimsiz ve pusluuu
         Bm             D                C#
Bi kez daha hiç sormadan gelip kiracısı oluyor boş odalarımın

    F#m              E        Bm
Ama ne olabilir bana şu anda olan
F#m                 E          Bm
Ne olabilir bu beni içeriden saran
               A         E              Bm
Manik bir atak mı, yoksa bi tür delilik mi

Bm
Yine yapışmışım yakama bir nedeni de yok ama
   D            C#7
Bi şey yapmak gerekli

F#m
Gökyüzü bulutları koynunda taşır insan en derin sırlarını içlerinde

Ağzı bozuk kargaların gözleri bi maruzatları olduğundan üstümdedir
                                                    E
Yine kapılmışım bi dalgaya sürüklenip gider kafam durulmaz
              Bm
Bu hallerimle hiç şaka olmaz
  F#m             E                Bm
İçlerinden biri koşar adım geliyor üstüme

       D
Bu tanıdık bi duygu
    F#m          E
İsimsiz ve pusluuu
         Bm             D                C#
Bi kez daha hiç sormadan gelip kiracısı oluyor boş odalarımın

    F#m              E        Bm
Ama ne olabilir bana şu anda olan
F#m                 E          Bm
Ne olabilir bu beni içeriden saran
               A         E              Bm
Manik bir atak mı, yoksa bi tür delilik mi

Bm
Yine yapışmışım yakama bir nedeni de yok ama
   D            C#7
Bi şey yapmak gerekli

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Birileri - Bir Şey Yapmak Tabs

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Harmony analysis

Birileri – Bir Şey Yapmak: key and chord analysis

The song opens on F#m and ends on C#7. 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)
#7 = E# (harmonic-minor leading tone from the V chord)

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, F#m is heard 11 times against 2 for A and the major V chord points straight at F#m. 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	2×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	15×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	2×
V7/vi	C#7	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G# · B	2×
IV	D	Subdominant — moves away from home	D · F# · A	6×
V	E	Dominant — strongest pull home	E · G# · B	12×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	11×
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#	11×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	2×
iv	Bm	Subdominant — moves away from home	B · D · F#	15×
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	2×
V7	C#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G# · B	2×
VI	D	Submediant — warm colour	D · F# · A	6×
VII	E	Subtonic — steps back to the tonic	E · G# · B	12×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 50 times in total; 5 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C# / C#7 is V/vi, a secondary dominant heading for F#m.

Chord movement

Bm F#m Aii → vi F#miv → iminor plagal ×5
C# F#m AV/vi → vi F#mV → iharmonic-minor cadence ×2
D F#m AIV → vi F#mVI → iVI → i ×2
C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×1

The move to watch is Bm → F#m, heard 5 times. From the F#m side it is iv → i (minor plagal: deep and melancholic); from the A side it reads ii → 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — 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.
When C# comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.

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

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

The song's harmonic story

The first chord is F#m; the ear learns where home is within a second. The backbone is Bm, E, F#m, D — ii–V–vi–IV from the A side, iv–VII–i–VI from the F#m side. C# is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bm → F#m (ii → vi in A, iv → i in F#m): minor plagal — deep and melancholic. It closes on C#7, letting the A side have the last word.

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.