Adamlar - Kadın - Chord

Key F major – D minor Chords A#, A, Dm, F Easy key C (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

A#   A   Dm   F

Affetmedin, acımadın, yıldırdın kadın.
Soğuk savaş, sıcak bastı, ghost bastı.
Bastırdım ben de ne bulduysam, tıkadım boşluğa.
Masum bi kuldum, Dracula oldum.
Kadın, kötü bi alışkanlık gibi kadın.
Saçı falan var böyle, uzun.
Bu şarkı tutmaz öyle, mesela çivilemek lazım.
Saat sabah beş buçuk, müsadenle Rock'n Roll.

A#         A         Dm                   F
Kadın, kadın, ne desem yavan, ne desem yarım.


Poşet gibi uçuyoruz be kadın.
Üstümde yün kazak, ağzımda adın ki garip bi tatla.
Eşyalar toplanmış da ben gidiyorum kadın

Nabıyom ben?
Efkar sirke tadında
Dönme dolap, dönme be.
Ateş yükseliyo, atları salın, ipleri çözün, çöpü dökün, sigortayı salın.

A#         A         Dm                   F
Kadın, kadın, ne desem yavan, ne desem yarım


Nefsime hakim tutarım, davaları satarım.
Kör topal çekinceler, ben yaşlı bir çekirgeyim
Zıp zıp zıp zıp zıp zıp zıp zıp
Çamaşır telinde sen ve ben...
Sürtünme kuvvetinden mandallar yandı.
Aramızdaki elektrik aklını kaçırdı.
Depar atalım, ver elini dünya güzeli.

A#         A         DM                   F
Kadın, kadın, ne desem yavan, ne desem yarım.

End of song Play again?

Adamlar - Kadın Tabs

NotesX

Harmony analysis

Adamlar – Kadın: key and chord analysis

The song opens on A# and ends on F. Its chords belong to both F major and Dm, so every chord below is read both ways.

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)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (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 F major and D minor because it comes to rest on F and the major V chord points straight at Dm. 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 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	3×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	3×
IV	A#	Subdominant — moves away from home	A# · D · E#	3×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	3×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	3×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	3×
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
v	Am	Minor dominant — soft pull	A · C · E	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	3×
VI	A#	Submediant — warm colour	A# · D · E#	3×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 12 times in total; 3 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm.

Chord movement

A Dm FV/vi → vi DmV → iharmonic-minor cadence ×3

The move to watch is A → Dm, heard 3 times. From the F side it reads V/vi → vi; from the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically). 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 A#, land on A#, D, E# — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
When A comes, swap the scale's C for C#: 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 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

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The opening A# lays a solid floor for everything that follows. A#, A, Dm, F carry the song: IV–V/vi–vi–I relative to F, VI–V–i–III relative to Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. The final chord is F; the ear comes to rest in F.

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.