Sıla - İzmir - Chord

Key A major – F# minor Chords C#m7, Bm7, Dmaj7, A, C#7 Easy key C

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Capo 0

C#m7              Bm7
Memleketine geldi mi
                   C#m7
İnsan bi' başka oluyor
                    Dmaj7
Ciğerleri bayram ediyor
     Bm7            C#m7
Hasretinin yası diniyor

C#m7
Şimdi püfür püfür eser imbat
Bm7             A
İmdada gerek kalmaz
Dmaj7             Bm7
Kurarız bereketli soframızı
                C#m7
Uzaklardan eser kalmaz

      C#m7   Bm7        C#m7   Bm7
Gavur İiiizmirim, yosma İiiizmirim
      C#m7   Bm7        A            Dmaj7
Nasıl özlettirirsin hiç gelmezsin kendin
      C#m7   Bm7        Dmaj7  C#m7
Gavur İiiizmirim, yosma İiiizmirim
             Dmaj7   Bm7            C#m7
Biraz arayı açınca gönül koyar körfezin

C#m7
Şimdi püfür püfür eser imbat
Bm7             A
İmdada gerek kalmaz
Dmaj7             Bm7
Kurarız bereketli soframızı
                C#m7
Uzaklardan eser kalmaz

C#7
Kes kavunu peyniri

Bu gece şerbet gibi rakı
                         Bm7
Bi' de tutturursan ege türküsü

      C#m7   Bm7        C#m7   Bm7
Gavur İiiizmirim, yosma İiiizmirim
      C#m7   Bm7        A            Dmaj7
Nasıl özlettirirsin hiç gelmezsin kendin
      C#m7   Bm7        Dmaj7  C#m7
Gavur İiiizmirim, yosma İiiizmirim
             Dmaj7   Bm7            C#m7
Biraz arayı açınca gönül koyar körfezin

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Sıla - İzmir Tabs

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Harmony analysis

Sıla – İzmir: key and chord analysis

The song opens on C#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: we can't honestly pick a side here — the song moves freely between A major and F# minor because A is heard 4 times while F#m never appears and the major V chord points straight at F#m. Try reading the chords both ways and see which feels more like home to you.

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	4×
ii7	Bm7	Supertonic — prepares the dominant	B · D · F# · A	17×
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	19×
III7	C#7	Chromatic colour chordoutside the key	C# · E# · G# · B	1×
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	9×
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	—
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	—
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	4×
iv7	Bm7	Subdominant — moves away from home	B · D · F# · A	17×
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	19×
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#	9×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 50 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.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Dmaj7, land on D, F#, A — 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 C#m7 lays a solid floor for everything that follows. The chords that keep coming back are C#m7, Bm7, Dmaj7, A; read them as iii7–ii7–IVmaj7–I in A or v7–iv7–VImaj7–III in F#m. C#7 is the interesting twist: in A it is a chromatic chord (III7), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Ending on C#m7, the song seals A as home.

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.