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)
Sıla Şahin - Yarınlar - Chord
Key A major – F# minor Chords C#m, Dmaj7, Bm7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
C#m Dmaj7 C#m Bm7 C#m Dmaj7 Önümde dağlar diz çöküyorlar C#m Bm7 Seni andıran herşeyi bana soruyorlar C#m Dmaj7 Kaybettiğin anıları bana yükledin ama C#m Bm7 Fazla gelir tabi yüklerim tonca C#m Dmaj7 Yüreğimde karlar erimiyor buzlar C#m Bm7 Sana olan sevgimi anlayamaz onlar C#m Dmaj7 Bir gün yarınlar senin olur ama kalandı dünler benim kursağımda C#m Bm7 Yarınlar yarımlar ah yıllar yandım yar C#m Dmaj7 Üşümüş dilimi de sıcak çay ısıttı sözlerin bıçaktan C#m Bm7 Yolun öylesi tuzaktan kanar dizlerim hep yaradan C#m Dmaj7 Yoruldum artık lafından sözünden ve ayrıca yalandan C#m Bm7 Müslüm Azer Ferdi Baba’dan açıcam son sesi bak Fatsa’dan C#m Dmaj7 Kalmaz dünya sana dar ettiler bak dünya yalan C#m Bm7 Gözüm öylesi uzakta arıyor seni bak lan tuzaklar C#m Dmaj7 Onca duyduğum yalanlar acıttı sözlerin bıçaktan C#m Bm7 Düşürürler solundan ederler bak seni yolundan
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Sıla Şahin - Yarınlar Tabs
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Harmony analysis
Sıla Şahin – Yarınlar: key and chord analysis
The song opens on C#m and ends on Bm7. Its chords belong to both A major and F#m, so every chord below is read both ways.
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: we can't honestly pick a side here — the song moves freely between A major and F# minor. Try reading the chords both ways and see which feels more like home to you.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | — |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 9× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 18× |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 9× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 9× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 18× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 9× |
| 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). 3 different chords appear 36 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, 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 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 opening C#m lays a solid floor for everything that follows. The backbone is C#m, Dmaj7, Bm7 — iii–IVmaj7–ii7 from the A side, v–VImaj7–iv7 from the F#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Bm7; 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.
Sıla Şahin - Yarınlar 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: Sıla ŞahinMusic: Sıla ŞahinArrangement: Ersin Hacat
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