Adamlar - Yaktı Geçti - Chord

Key Bb major – G minor Chords Dm, Eb, Bb, Fm, F, C, Gm, Ab Easy key G (capo 3)

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Capo 0


Arkadaşlar şarkının FadeOut Studios canlı versiyonu için
"C | Am" tonuna transpoze edebilirsiniz.


Dm  Eb  F  Eb  Dm

Fm         Dm  Fm  Eb  Dm
Fani dünya bu
          Bb    Eb   Dm   Bb  C  Dm
Toz olur elinde tuttuğun
           Fm     Eb       Dm   Fm  Eb  Dm
Neye güvenilir de hep unutulur
        Bb     Eb      Dm  Bb  Eb  Dm
İçerine bak da kendini bul

Bb
Neye yarar bunca şov
Gm
Kazı kazan ya da boğul
Eb            Ab
Ateşini sula, dengeni koru

Dm          Eb
Bir bakışın saf akışı
F     Eb   Dm
Karla kışı yaktı geçti, yaktı geçti, hey
            Eb
Bir komadan bir komaya
F     Eb   Dm
Dalga bana vurdu geçti, vurdu geçti, hey

         Fm          Dm  Fm  Eb  Dm
Ara sıra aynalar tutulur
         Bb    Eb       Dm  Bb  C  Dm
Geceleri yalnızlık uyutulur
          Fm      Eb       Dm   Fm  Eb  Dm
Tıka basa gündem, korku oyunu
          Bb    Eb      Dm  Bb  Eb  Dm
Akıl mapusta, kalp unutulur

Dm          Eb
Bir bakışın saf akışı
F     Eb   Dm
Karla kışı yaktı geçti, yaktı geçti, hey
            Eb
Bir komadan bir komaya
F     Eb   Dm
Dalga bana vurdu geçti, vurdu geçti, hey

End of song Play again?

Adamlar - Yaktı Geçti Tabs

NotesX

Harmony analysis

Adamlar – Yaktı Geçti: key and chord analysis

The song opens on Dm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb major side because Bb is heard 9 times against 1 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	9×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
V/V	C	Secondary dominant V/V — leads to Fsecondary dominant	C · E · G	2×
iii	Dm	Mediant — a tonic-family shade	D · F · A	24×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	23×
V	F	Dominant — strongest pull home	F · A · C	5×
v	Fm	Chromatic colour chordoutside the key	F · Ab · C	8×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	1×
bVII	Ab	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Ab · C · Eb	1×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	1×
bII	Ab	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Ab · C · Eb	1×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	9×
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
IV	C	Major IV — Dorian / melodic-minor colourmodal colour	C · E · G	2×
v	Dm	Minor dominant — soft pull	D · F · A	24×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	23×
VII	F	Subtonic — steps back to the tonic	F · A · C	5×
vii	Fm	Chromatic colour chordoutside the key	F · Ab · C	8×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 73 times in total; 5 of them sit naturally inside the shared scale. C acts as a secondary dominant, briefly pointing at another chord of the key. Ab is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Eb F BbIV → VIV → V GmVI → VIIVI → VII ×5

The move to watch is Eb → F, heard 5 times. From the Bb side it reads IV → V (IV → V: the lift that builds tension before home); from the Gm side it is VI → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
On Ab, follow the chord's notes (Ab · C · Eb) rather than the key's scale — it's a borrowed colour.

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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The first chord is Dm; the ear learns where home is within a second. Dm, Eb, Bb, Fm carry the song: iii–IV–I–v relative to Bb, v–VI–III–vii relative to Gm. C adds a moment of surprise: secondary dominant V/V — leads to F. Keep an ear on Eb → F (IV → V in Bb, VI → VII in Gm): IV → V — the lift that builds tension before home. The final chord is Dm; the ear comes to rest in Bb.

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.