Evdeki Saat - Sarmaşık - Chord

Key A major – F# minor Chords Bm, Dmaj7, F#m, A Easy key G (capo 2)

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Capo 0

Bm  Dmaj7  F#m   A

Bm
Dün neden yarından daha karmaşık
Dmaj7                               F#m
Kendi korkularımla hesaplaşıp, temizlerken
          A
Bir yer isterken

    Bm
Ama geçmişime günden güne yaklaşıp
Dmaj7
Nefretimi saklayıp bir sarmaşık
     F#m          A
Filizlerken, derinlerden

     Bm
Yine sarıp sarıp başa düşünüyordum
Dmaj7                        F#m
Açık kapı ama üşümüyordum henüz erken
   A
Henüz erken

      Bm
Çünkü yanıp yanıp yanıp tutuşuyordum
   Dmaj7                           F#m      A
Küllerim sana doğru uçuşuyordu sen izlerken

         Bm
Ve sonra çok şey yaşandı
        Dmaj7
Yaşandı çok yeni durumlar
         F#m
Bak hala aynı korkular
          A
Bir insan kaç kez sorgular

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Evdeki Saat - Sarmaşık Tabs

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Harmony analysis

Evdeki Saat – Sarmaşık: key and chord analysis

The song opens on Bm and ends on A. 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 it comes to rest on A. 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
I	A	Tonic — home	A · C# · E	6×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	6×
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#	—
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	6×
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	6×
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#	6×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	6×
iv	Bm	Subdominant — moves away from home	B · D · F#	6×
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#	—
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	6×
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). 4 different chords appear 24 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

Dmaj7 F#m AIVmaj7 → vi F#mVImaj7 → iVI → i ×6

The move to watch is Dmaj7 → F#m, heard 6 times. From the A side it reads IVmaj7 → vi; from the F#m side it is VImaj7 → i (VI → i: falls a half step into home). 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 Dmaj7, land on D, F#, A — 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

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

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. The chords that keep coming back are Bm, Dmaj7, F#m, A; read them as ii–IVmaj7–vi–I in A or iv–VImaj7–i–III in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dmaj7 → F#m (IVmaj7 → vi in A, VImaj7 → i in F#m): VI → i — falls a half step into home. Ending on A, the song seals A 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.