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)
Cem Adrian - Bir Gün Gideceğim Buradan - Demet Sağıroğlu - Chord
Key A major – F# minor Chords C#7, F#m, Bm, E, Am, Dm, G Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m Bm
Bir gün gideceğim buradan kimseye seslenmeden
E C#7 F#m C#7
Yorgunluğu, mutsuzluğu kimseye yük etmeden
F#m Bm
Bir gün gideceğim buradan kimselere küsmeden
E C#7 F#m C#7
Hırsları, kırgınlıkları cebimde götürmeden
C#7 F#m
Bir gün bir yerde, kaybolayım göklerde
Bm C#7
Derdime ağlasınlar dost dediğim şehirler
F#m
Bir gün bir yerlerde bırakayım her şeyi
Bm C#7
Azad olsun geçmişim, temizlensin yüreğim
F#m Bm
Bir gün gideceğim buradan kimse bana kızmasın
E C#7 F#m C#7
Ben memnunum bu hallerden kimse gönül koymasın
F#m Bm
Bir gün gideceğim buradan kimseler aldırmasın
E C#7 F#m C#7
Allah’a ısmarladık demezsem üstüne alınmasın
C#7 F#m
Bir gün bir yerde, kaybolayım göklerde
Bm C#7
Derdime ağlasınlar dost dediğim şehirler
F#m
Bir gün bir yerlerde bırakayım her şeyi
Bm C#7
Azad olsun geçmişim, temizlensin yüreğim
Am Dm
Yalnızlık yaralı bir kuş çırpınıyor göklerde
G E Am E
Deniz sakin, öğretecek dinginliği gönlüme
Am Dm
Bir gün güzel bir yerlerde saklanayım evrende
G E Am E
Ümitler hep varolacak geçmişi sildiğimde
End of song Play again?
Cem Adrian - Bir Gün Gideceğim Buradan - Demet Sağıroğlu Tabs
NotesX
Harmony analysis
Cem Adrian – Bir Gün Gideceğim Buradan - Demet Sağıroğlu: key and chord analysis
The song opens on F#m and ends on E. Its chords belong to both A major and F#m, so every chord below is read both ways.
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 12 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | — |
| i | Am | Chromatic colour chordoutside the key | A · C · E | 4× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 8× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V7/vi | C#7 | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# · B | 14× |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| iv | Dm | Minor iv — borrowed from the parallel minorborrowed chord | D · F · A | 2× |
| V | E | Dominant — strongest pull home | E · G# · B | 8× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 12× |
| bVII | G | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D | 2× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 12× |
| bII | G | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D | 2× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iii | Am | Chromatic colour chordoutside the key | A · C · E | 4× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 8× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V7 | C#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# · B | 14× |
| VI | D | Submediant — warm colour | D · F# · A | — |
| vi | Dm | Chromatic colour chordoutside the key | D · F · A | 2× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 8× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 50 times in total; 3 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. Dm, G are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×11
- Bm E Aii → Vii → V F#miv → VII ×4
- Bm C#7 Aii → V7/vi F#miv → V7iv → V ×4
The move to watch is C#7 → F#m, heard 11 times. From the F#m side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the A side it reads V7/vi → vi (secondary resolution: C#7 resolves a fourth up to 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 C#7, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — 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.
- 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
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is F#m; the ear learns where home is within a second. C#7, F#m, Bm, E carry the song: V7/vi–vi–ii–V relative to A, V7–i–iv–VII relative to F#m. 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 C#7 → F#m (V7/vi → vi in A, V7 → i in F#m): harmonic-minor cadence — the major V resolves dramatically. The final chord is E; 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.
Cem Adrian - Bir Gün Gideceğim Buradan - Demet Sağıroğlu 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: Demet SağıroğluMusic: Stamatis SpanoudakisArrangement: Stamatis Spanoudakis
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