Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Adamlar - Es - Chord
Key F major – D minor Chords Dm, Bb, C, F, A, Gm, Db Easy key G
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Key: F | Dm
Capo: 0
Dm C Bb Kalbi titretir, gelir seni yerinden kaldırır Dm C Bb Oturtup uçan halıya, gökyüzüne daldırır F Bb F A Ah derim, derinlere sözüm var Dm C Bb A Yandığım havam benim bu vay yanık havasıdır F Gm C Bb C Dm Sesini bi göreyiiiim, zamansız seveyim F Gm C Bb Db Dm Yüzünü bi duyayıııım, müptelayım merkez Dm C Bizimki heves F Gm Bb A Dm Es, es, es deli rüzgar es Dm Dm C Bb Dm Dm C Bb Dm C Bb Döndüm etrafında tekrar geçtim aynı zamandan Dm C Bb Gönlüm güneş olsun istedim kurusun çamurlar F Bb F A Ah derim labirentler silinsin Dm C Bb A Yandığım havam benim bu yanan yerde gül bitsin F Gm C Bb A Dm Sesini bi göreyiiiim, zamansız seveyim F Gm C Bb A Dm Yüzünü bi duyayıııım, müptelayım merkez Dm C Bizimki heves F Gm Bb A Dm Es, es, es deli rüzgar es Dm C Bizimki heves F Gm Bb A Dm Es, es, es deli rüzgar es
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Adamlar - Es Tabs
NotesX
Harmony analysis
Adamlar – Es: key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it both starts and finishes on Dm, Dm is heard 20 times against 11 for F and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to F or to Dm; 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 | F | Tonic — home | F · A · C | 11× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 7× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 9× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 17× |
| V | C | Dominant — strongest pull home | C · E · G | 16× |
| bVI | Db | Borrowed from the parallel minorborrowed chord | Db · F · Ab | 1× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 20× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 20× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 11× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 7× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 9× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 17× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 16× |
| #VII | Db | Chromatic colour chordoutside the key | Db · F · Ab | 1× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 81 times in total; 5 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. Db is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×7
- Bb F FIV → Iplagal cadence DmVI → III ×4
- Bb Dm FIV → vi DmVI → iVI → i ×4
- Gm C Fii → Vii → V Dmiv → VII ×4
- C F FV → Iauthentic cadence DmVII → III ×3
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
The move to watch is A → Dm, heard 7 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm, land on D, F, A — 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.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
- On Db, follow the chord's notes (Db · F · Ab) 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The backbone is Dm, Bb, C, F — vi–IV–V–I from the F side, i–VI–VII–III from the Dm side. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Dm; the ear comes to rest in Dm.
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.
Adamlar - Es 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: Tolga AkdoğanMusic: Tolga AkdoğanArrangement: Adamlar
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