Sıla - Evvel Ezel - Chord

Key A major – F# minor Chords C#m7, Bm7, F#m7, Dmaj7, F#m, E, E7, G#m … Easy key C

Add to Repertoire

No ratings yet

or your user informations

Capo 0

F#m7
Bu gece beni yalnızlık kucaklıyor
C#m7   Dmaj7      F#m   E
Elleri buz gibi soğuk
F#m7
Her yerde seni, seni arıyorum
C#m7   Dmaj7            F#m   E
Senden başkasına yüzüm asık

           Bm7     E7        F#m
Bi' göz odada yankılanıyor sesim
        Bm7   E
Çekiniyorum duvarlardan
Dmaj7      C#m7       E
Üstüme bi' hınçla yürüyor

Yakamı bırakmıyor

Bm7      F#m7
Dayan, dayan
G#m  C#7       F#m
İçim    sade hicran

F#m7               C#m7
Ezelim, ecelim sen oldun
Bm7               F#m7
Aşktan sağ çıkılmıyormuş
                C#m7
Yükledim sırtıma kederini
Bm7              C#m7
Senden evvelim yokmuş
x2

Dmaj7  Dmaj7  Bm7  C#m7  C#m7
x2

End of song Play again?

Sıla - Evvel Ezel Tabs

NotesX

Harmony analysis

Sıla – Evvel Ezel: key and chord analysis

The song opens on F#m7 and ends on C#m7. 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 opens on F#m, F#m is heard 9 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	—
ii7	Bm7	Supertonic — prepares the dominant	B · D · F# · A	6×
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	8×
V7/vi	C#7	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G# · B	1×
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	5×
V	E	Dominant — strongest pull home	E · G# · B	4×
V7	E7	Dominant — strongest pull home	E · G# · B · D	1×
vi7	F#m7	Relative minor — the melancholy side	F# · A · C# · E	5×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	4×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—
vii	G#m	Chromatic colour chordoutside the key	G# · B · D#	1×

Seen from F# minor
Degree	Chord	Role	Notes	In song
i7	F#m7	Tonic — home	F# · A · C# · E	5×
i	F#m	Tonic — home	F# · A · C#	4×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
ii	G#m	Chromatic colour chordoutside the key	G# · B · D#	1×
III	A	Relative major — the bright side	A · C# · E	—
iv7	Bm7	Subdominant — moves away from home	B · D · F# · A	6×
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	8×
V7	C#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G# · B	1×
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	5×
VII	E	Subtonic — steps back to the tonic	E · G# · B	4×
VII7	E7	Subtonic — steps back to the tonic	E · G# · B · D	1×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 9 different chords appear 35 times in total; 7 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#7 is V7/vi, a secondary dominant heading for F#m. G#m step outside the scale as colour chords.

Chord movement

Bm7 F#m7 Aii7 → vi7 F#miv7 → i7minor plagal ×2
Dmaj7 F#m AIVmaj7 → vi F#mVImaj7 → iVI → i ×2
C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×1
E F#m7 AV → vi7deceptive cadence F#mVII → i7Aeolian arrival ×1
E7 F#m AV7 → videceptive cadence F#mVII7 → iAeolian arrival ×1
Bm7 E7 Aii7 → V7ii → V F#miv7 → VII7 ×1

The move to watch is Bm7 → F#m7, heard 2 times. From the F#m side it is iv7 → i7 (minor plagal: deep and melancholic); from the A side it reads ii7 → vi7. 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 C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
When C#7 comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.

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
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening F#m7 lays a solid floor for everything that follows. The backbone is C#m7, Bm7, F#m7, Dmaj7 — iii7–ii7–vi7–IVmaj7 from the A side, v7–iv7–i7–VImaj7 from the F#m side. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Bm7 → F#m7 (ii7 → vi7 in A, iv7 → i7 in F#m): minor plagal — deep and melancholic. The final chord is C#m7; 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.