Son Feci Bisiklet - Çikolata - Chord

Key A major – F# minor Chords E7, A7, B7 Easy key G (capo 2)

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Capo 0

E7
Bu işin buralara varacağını sanmazdım

Söndürmeyeceğini bilseydim hiç yanmazdım
     A7
Yine gel 
              E7
Kötüsü bile güzel
B7     A7            E7      B7
Sev beni çikolata sevdiğin gibi

E7
Yorma beni dedin ben de yormadım

Çok merak ettim ama sormadım
       A7
Bedeli ne
               E7
O dövmenin beline
B7     A7            E7      B7
Sev beni çikolata sevdiğin gibi

E7
Buralara varacağını sanmazdım

Söndürmeyeceğini bilseydim hiç yanmazdım
     A7
Yine gel
              E7
Kötüsü bile güzel
B7     A7            E7      B7
Sev beni çikolata sevdiğin gibi

E7
Anladım belli ki bu aşkın ölümü
                                A7
Hatunun aklında bir sonraki öğünü
               E7
Kesemiyorum önünü
B7   A7
Sevmedi beni
E7
Çikolata sevdiği gibi

Ooooh

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Son Feci Bisiklet - Çikolata Tabs

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Harmony analysis

Son Feci Bisiklet – Çikolata: key and chord analysis

The song opens on E7 and ends on E7. 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 A major side because A is heard 8 times while F#m never appears. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

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
I7	A7	Chromatic colour chordoutside the key	A · C# · E · G	8×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
V7/V	B7	Secondary dominant V/V — leads to Esecondary dominant	B · D# · F# · A	7×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
III	C#	Chromatic colour chordoutside the key	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	—
V7	E7	Dominant — strongest pull home	E · G# · B · D	12×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	—
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#	—
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III7	A7	Chromatic colour chordoutside the key	A · C# · E · G	8×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
IV7	B7	Major IV — Dorian / melodic-minor colourmodal colour	B · D# · F# · A	7×
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#	—
VI	D	Submediant — warm colour	D · F# · A	—
VII7	E7	Subtonic — steps back to the tonic	E · G# · B · D	12×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 3 different chords appear 27 times in total; 1 of them sit naturally inside the shared scale. B7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

E7 A7 AV7 → I7authentic cadence F#mVII7 → III7 ×4
B7 E7 AV7/V → V7secondary resolution F#mIV7 → VII7 ×3

The move to watch is E7 → A7, heard 4 times. From the A side it reads V7 → I7 (authentic cadence: the strongest arrival home); from the F#m side it is VII7 → III7. 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 E7, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over B7, 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

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

The song's harmonic story

Starting on E7, the song gives away its key from the very first bar. The chords that keep coming back are E7, A7, B7; read them as V7–I7–V7/V in A or VII7–III7–IV7 in F#m. B7 adds a moment of surprise: secondary dominant V/V — leads to E. Keep an ear on E7 → A7 (V7 → I7 in A, VII7 → III7 in F#m): authentic cadence — the strongest arrival home. It closes on E7, 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.