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)
İrem Derici - Evlenmene Bak - Chord
Key A major – F# minor Chords Dbm, D, Bm Easy key C
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Key: A | Gbm | F#m
Capo: 0
Dbm D Dbm D Bm D Dbm
Dbm
Beni üzgün görmezsin
Dbm
Çünkü buna değmezsin
D Dbm
Aşk önünde beklenilmez yar
Dbm
Hızlı geçer görmezsin
Dbm
Toz dumandan ölmezsin
D Dbm
Bir gider ki farkedilmez yar
Bm
Alemsin
Dbm
İşte böyle beklersin
D
Bir de bebek istersin
Dbm
Oldu hoşçakal
Bm Dbm
Bendensin, yak bir acı iyi gelsin
D
Bitti süren çoktandır
Dbm
Doldu hoşçakal
Dbm D Dbm D
Başka türlü biri olsan olurdu ancak
Bm D Dbm
Ben gidiyorum sen lütfen eğlenmene bak
Dbm D Dbm D
Nerden bileyim bu kalbimi kim dolduracak
Bm D Dbm
Rahatsız olma başkasıyla evlenmene bak
Bm D Dbm
Ben gidiyorum hadi sen evlenmene bak
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İrem Derici - Evlenmene Bak Tabs
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Harmony analysis
İrem Derici – Evlenmene Bak: key and chord analysis
The song opens on Dbm and ends on Dbm. 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)
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. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 6× |
| iii | Dbm | Mediant — a tonic-family shade | Db · Fb · Ab | 20× |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 14× |
| 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 | — |
| 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 | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 6× |
| v | Dbm | Minor dominant — soft pull | Db · Fb · Ab | 20× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 14× |
| 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). 3 different chords appear 40 times in total; 3 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
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 Dbm, land on Db, Fb, Ab — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — 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.
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
Starting on Dbm, the song gives away its key from the very first bar. The chords that keep coming back are Dbm, D, Bm; read them as iii–IV–ii in A or v–VI–iv in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Dbm; 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.
İrem Derici - Evlenmene Bak 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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