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)
Key A major – F# minor Chords F#m, A, Ab, B Easy key F (capo 4)
F#m F#m A F#m F#m B F#m F#m A B F#m A Ab F#m A Ab Derin uykudaydım sesine uyandım F#m A Ab F#m Ab F#m Kan içinde kaldım uyku tutmadı F#m A Ab F#m A Ab Yolun ortasında henüz onaltısıında F#m A Ab F#m Ab F#m Vuruyorlar oyysa bişey yapmadı F#m A Ab F#m A Ab Sanki onlar hancı halkına yabancı F#m A Ab F#m Ab F#m Biz ise kiracıyızda evden atmalı F#m A Ab F#m A Ab Birisi oy peşinde öteki rant işinde F#m A Ab F#m Kıyamet değilse bile bişey kopmalı A A B A B F#m A F#m B F#m A Bişey yapmalı hey, bişey yapmalı hey, bişey yapmalı hey F#m A Ab F#m A Ab Herkesin fikrince farkımız çok innce F#m A Ab F#m Ab F#m Yutmaya gelince demir lokmayı F#m A Ab F#m A Ab Hileli terazi han hamam arazi F#m A Ab F#m Ab F#m Konuşanı asi deyip içeri tıkmalı F#m A Ab F#m A Ab Faili meçhuller çöple beslenenler F#m A Ab F#m Ab F#m Çalıp duran ziller uyandırmalı F#m A Ab F#m A Ab Yolun ortasında henüz onaltısında F#m A Ab F#m Ab F#m İnsan insanım diyorsa bişey yapmalı F#m A F#m B F#m A Bişey yapmalı hey, bişey yapmalı hey, bişey yapmalı hey
End of song Play again?
Harmony analysis
The song opens on F#m and ends on A. Its chords belong to both A major and F#m, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 because it comes to rest on A, it opens on F#m and F#m is heard 51 times against 33 for A. Try reading the chords both ways and see which feels more like home to you.
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 | 33× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| II | B | Chromatic colour chordoutside the key | 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# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 51× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| VII | Ab | Chromatic colour chordoutside the key | Ab · C · Eb | 31× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 51× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| II | Ab | Chromatic colour chordoutside the key | Ab · C · Eb | 31× |
| III | A | Relative major — the bright side | A · C# · E | 33× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | 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# | — |
| VI | D | Submediant — warm colour | D · F# · A | — |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 121 times in total; 2 of them sit naturally inside the shared scale. Ab, B step outside the scale as colour chords.
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.
Empty slices are chords the song doesn't use.
The opening F#m lays a solid floor for everything that follows. The backbone is F#m, A, Ab, B — vi–I–VII–II from the A side, i–III–II–IV 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 A; 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.
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.
Ready-made lists by difficulty and mood.
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