Can Kazaz - Kırlangıçlar Gibi - Chord

Key A major – F# minor Chords F#m, E, C#m, Gm, G#m, Dm, D#m, Bm … Easy key C

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Capo 0

F#m  C#m   B   F#m
F#m  C#m   B   F#m
E    F#m   E   F#m
E    F#m   E   F#m

  F#m     C#m   Bm   F#m      C#m     Bm      F#m
Yollar uzun, dönme  diyor, beni insanlar yoruyor
      C#m   Bm       F#m      C#m      Bm      F#m
Göçmen kuşlar haber veriyor, ufukta nehirler akıyor

E          F#m   E                F#m
Ah, durmayalım, ah, kırlangıçlar gibi
E           F#m    E                F#m
Ah, yolumuz uzun, ah, kırlangıçlar gibi

Gm   Dm   C   Gm

   Gm      Dm   Cm    Gm      Dm     Cm      Gm
Bir göl kıyısına varıyoruz, orada martılar uçuyor
        Dm      Cm      Gm      Dm       Cm      Gm
Zeytin dalları haber veriyor, ufukta dargınlar barışıyor

E          F#m   E                F#m
Ah, durmayalım, ah, kırlangıçlar gibi
E           F#m    E                F#m
Ah, yolumuz uzun, ah, kırlangıçlar gibi

G#m  D#m  C#  G#m 

  G#m     D#m   C#m   G#m    D#m      C#m       G#m
Bir dağın eteğine konuyoruz orada çiçekler açıyor
          D#m   C#m       G#m       D#m      C#m     G#m
Yıldızlar bize haber veriyor, ufukta aşıklar buluşuyor

E          F#m   E                F#m
Ah, durmayalım, ah, kırlangıçlar gibi
E           F#m    E                F#m
Ah, yolumuz uzun, ah, kırlangıçlar gibi

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Harmony analysis

Can Kazaz – Kırlangıçlar Gibi: key and chord analysis

The song opens on F#m and ends on F#m. 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)
#7 = E# (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 F# minor side because it both starts and finishes on F#m, F#m is heard 25 times while A never appears and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 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	—
ii	Bm	Supertonic — prepares the dominant	B · D · F#	4×
V/V	B	Secondary dominant V/V — leads to Esecondary dominant	B · D# · F#	2×
biii	Cm	Chromatic colour chordoutside the key	C · Eb · G	4×
bIII	C	Borrowed from the parallel minorborrowed chord	C · E · G	1×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	10×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	1×
IV	D	Subdominant — moves away from home	D · F# · A	—
iv	Dm	Minor iv — borrowed from the parallel minorborrowed chord	D · F · A	5×
#iv	D#m	Chromatic colour chordoutside the key	D# · F# · A#	5×
V	E	Dominant — strongest pull home	E · G# · B	16×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	25×
bvii	Gm	Chromatic colour chordoutside the key	G · Bb · D	7×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—
vii	G#m	Chromatic colour chordoutside the key	G# · B · D#	7×

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	25×
bii	Gm	Chromatic colour chordoutside the key	G · Bb · D	7×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
ii	G#m	Chromatic colour chordoutside the key	G# · B · D#	7×
III	A	Relative major — the bright side	A · C# · E	—
iv	Bm	Subdominant — moves away from home	B · D · F#	4×
IV	B	Major IV — Dorian / melodic-minor colourmodal colour	B · D# · F#	2×
#iv	Cm	Chromatic colour chordoutside the key	C · Eb · G	4×
#IV	C	Chromatic colour chordoutside the key	C · E · G	1×
v	C#m	Minor dominant — soft pull	C# · E · G#	10×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	1×
VI	D	Submediant — warm colour	D · F# · A	—
vi	Dm	Chromatic colour chordoutside the key	D · F · A	5×
#vi	D#m	Chromatic colour chordoutside the key	D# · F# · A#	5×
VII	E	Subtonic — steps back to the tonic	E · G# · B	16×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 12 different chords appear 87 times in total; 4 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C# is V/vi, a secondary dominant heading for F#m. B acts as a secondary dominant, briefly pointing at another chord of the key. Dm, C are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×16
Bm F#m Aii → vi F#miv → iminor plagal ×4

The move to watch is E → F#m, heard 16 times. From the F#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the A side it reads V → vi (deceptive cadence: expected A, lands on F#m). 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
When C# comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.
On Dm, follow the chord's notes (D · F · A) 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 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

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

The song's harmonic story

Starting on F#m, the song gives away its key from the very first bar. The chords that keep coming back are F#m, E, C#m, Gm; read them as vi–V–iii–bvii in A or i–VII–v–bii in F#m. C# is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on E → F#m (V → vi in A, VII → i in F#m): Aeolian arrival — rises a whole tone into home. The final chord is F#m; the ear comes to rest in F#m.

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.