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)
Cem Karaca - Adiloş Bebe - Chord
Key F major – D minor Chords Bb, Am, C, Dm, F, Em, G Easy key G
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Key: F | Dm
Capo: 0
Am Doğdun üç gün aç tuttuk Bb Üç gün meme vermedik sana C Bb Am Adiloş adiloş adiloş bebem Dm Hasta düşmeyesin diye F Töremiz böyle diye Bb Saldır şimdi memeye C Bb Am Saldır da saldır da saldır da saldır da büyü Dm C Bb Bb Am Adiloş adiloş adiloş adiloş bebem Bb C Dm Bb Am Saldır da büyü saldır da büyü adiloş adiloş bebem Em F Bunlar engerekler ve çıyanlardır G Bb Bunlar aşımıza, ekmeğimize C Bb Am Göz koyanlardır tanı bunları Bb C Tanı bunları tanı bunları Dm Bb Am Tanı da tanı da tanı da tanı da büyü Dm C Bb Bb Am Adiloş adiloş adiloş adiloş bebem Bb C Dm Bb Am Tanı bunları tanı bunları adiloş adiloş bebem Am Bb Bu, namustur künyemize kazılmış Bb Am Bu da sabır ağulardan süzülmüş Bb C Sarıl bunlara sarıl bunlara Dm Bb Am Sarıl da sarıl da sarıl da sarıl da büyü Dm C Bb Bb Am Adiloş adiloş adiloş adiloş bebem Bb C Dm Bb Am Sarıl bunlara sarıl bunlara adiloş adiloş bebem
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Cem Karaca - Adiloş Bebe Tabs
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Harmony analysis
Cem Karaca – Adiloş Bebe: key and chord analysis
The song opens on Am and ends on Am. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because Dm is heard 9 times against 2 for F. 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 | 2× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| V/V | G | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 1× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 14× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 24× |
| V | C | Dominant — strongest pull home | C · E · G | 11× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 9× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 9× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| III | F | Relative major — the bright side | F · A · C | 2× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 1× |
| v | Am | Minor dominant — soft pull | A · C · E | 14× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 24× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 11× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 62 times in total; 5 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×8
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×5
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×4
The move to watch is Bb → C, heard 8 times. From the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IV → V (IV → V: the lift that builds tension before home). 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — 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.
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 Am, the song gives away its key from the very first bar. Bb, Am, C, Dm carry the song: IV–iii–V–vi relative to F, VI–v–VII–i relative to Dm. G adds a moment of surprise: secondary dominant V/V — leads to C. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. Ending on Am, the song seals F 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.
Cem Karaca - Adiloş Bebe 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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