Major view
B major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A# (leading tone, pulls home)
- 4 = E (the note that leans on the 3rd)
Adamlar - Acının İlacı - Chord
Key B major – G# minor Chords G#m, C#m, D#m, E, D#, F#, B, A Easy key C
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Key: B | Abm | G#m
Capo: 0
G#m D#m C#m G#m D#m C#m B B E D# G#m E D# İstedim, hep istedim, bu hislerim, karabatak G#m E D# Derinlere batmış taştan kalp, sesi çıkmaz, yapayalnız G#m E D# Akşamüstü hep genciz, gece gelir gemi batar G#m E D# Viranelerde sofralar, kurup çürük meyvelerle G#m G#m F# F# G#m Aşkına bomba, çay çorba F# Başımızda krallar yolumuza tükürür G#m Yakalayıp bi ucunu sal boşluğa F# Çözülmeye hasret düğümün G#m C#m D#m C#m Ne kralın tacı G#m C#m D#m C#m Ne kısa günün kazancı G#m C#m D#m C#m Garibin harcı G#m C#m D#m C#m Acının ilacı, acının ilacı G#m D#m C#m G#m D#m C#m B B E D# G#m E D# Kim kimin deli gözlerin, bu iklimin sonu mu var G#m E D# Zehir karışmış topraklar, mühür vurmuşlar kalbine G#m E D# Olancası bir tutam can, dahası kof, yarını yok G#m E D# Garibin başında rüzgar, halimizden yanan anlar G#m F# G#m Kaderime kederime razıyım ederime F# Gönlünü duy, söyle dileğini G#m F# Bahçemiz olsun dilimizi yutsun E D# C#m B A Bilen çözer elbet bir gün düğümleri G#m C#m D#m C#m Ne kralın tacı G#m C#m D#m C#m Ne kısa günün kazancı G#m C#m D#m C#m Garibin harcı G#m C#m D#m C#m Acının ilacı, acının ilacı
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Adamlar - Acının İlacı Tabs
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Harmony analysis
Adamlar – Acının İlacı: key and chord analysis
The song opens on G#m and ends on C#m. Its chords belong to both B major and G#m, so every chord below is read both ways.
Minor view
G# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = E (the minor's melancholy)
- b7 = F# (natural-minor colour)
- #7 = G (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 G# minor side because it opens on G#m, G#m is heard 27 times against 5 for B and the major V chord points straight at G#m. That is an interpretation, not a rule — the same chords are just as valid seen from B 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 B or to G#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 | B | Tonic — home | B · D# · F# | 5× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | 21× |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | 12× |
| V/vi | D# | Secondary dominant V/vi — leads to G#msecondary dominant | D# · G · A# | 11× |
| IV | E | Subdominant — moves away from home | E · G# · B | 11× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 7× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 27× |
| bVII | A | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | A · C# · E | 1× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 27× |
| bII | A | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | A · C# · E | 1× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | 5× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | 21× |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | 12× |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | 11× |
| VI | E | Submediant — warm colour | E · G# · B | 11× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 7× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 8 different chords appear 95 times in total; 6 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same D# is V/vi, a secondary dominant heading for G#m. A is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×10
- C#m G#m Bii → vi G#miv → iminor plagal ×9
- F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×5
The move to watch is D# → G#m, heard 10 times. From the G#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the B side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
- Over G#m, land on G#, B, D# — 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.
- Over D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
- When D# comes, swap the scale's F# for G: that single note is the harmonic-minor sound of the chord.
- On A, follow the chord's notes (A · C# · E) 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 B major shapes
- Capo 2 + A shapes
- Capo 4 + G shapes
- Capo 7 + E shapes
With G# minor shapes
- Capo 4 + Em shapes
- Capo 6 + Dm shapes
Easiest keys on guitar
- 1 semitone up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The first chord is G#m; the ear learns where home is within a second. G#m, C#m, D#m, E carry the song: vi–ii–iii–IV relative to B, i–iv–v–VI relative to G#m. D# is the interesting twist: in B it is a chromatic chord (V/vi), while in G#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D# → G#m (V/vi → vi in B, V → i in G#m): harmonic-minor cadence — the major V resolves dramatically. It closes on C#m, letting the B side have the last word.
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.
Adamlar - Acının İlacı 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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