Son Feci Bisiklet - Galiba Sevmiyorlar - Chord

Key A major – F# minor Chords E, A, Bm Easy key G (capo 2)

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Capo 0

E      Bm            A
Sonunda hep canın yanar
E        Bm            A            
Beklediğin yer beklemediğin kadar
E          Bm           A
Bitince sürpriz var diyenler
E         Bm        A
Filmi hiç izlemeyenler

Bm                  A                       E  
Bir yer var biliyorlar ama bize söylemiyorlar
E               A
Galiba sevmiyorlar
Bm            A                     E
Gezegen gezegen dolaş yine bize giren 
E                A
Senle aynı şehirden

E        Bm          A
Sokaklar hep yangın yeri
E         Bm          A
Öyle tercih eder kibrit tacirleri
E       Bm       A
Üç ileri ve beş geri
E               A
Hiç özlemedim sizleri

Bm                  A                       E  
Bir yer var biliyorlar ama bize söylemiyorlar
E               A
Galiba sevmiyorlar
Bm            A                     E
Gezegen gezegen dolaş yine bize giren 
E                A
Senle aynı şehirden

E       Bm            A
Sonunda hep canın yanar
E         Bm              A
İsyan et isyan edebildiğin kadar

End of song Play again?

Son Feci Bisiklet - Galiba Sevmiyorlar Tabs

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Harmony analysis

Son Feci Bisiklet – Galiba Sevmiyorlar: key and chord analysis

The song opens on E and ends on A. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A major side because it comes to rest on A and A is heard 18 times while F#m never appears. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

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	18×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	13×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
III	C#	Chromatic colour chordoutside the key	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	—
V	E	Dominant — strongest pull home	E · G# · B	18×
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	18×
iv	Bm	Subdominant — moves away from home	B · D · F#	13×
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	—
VII	E	Subtonic — steps back to the tonic	E · G# · B	18×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 3 different chords appear 49 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

E A AV → Iauthentic cadence F#mVII → III ×5

The move to watch is E → A, heard 5 times. From the A side it reads V → I (authentic cadence: the strongest arrival home); from the F#m side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

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 E, land on E, G#, B — 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 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

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

The song's harmonic story

Starting on E, the song gives away its key from the very first bar. The chords that keep coming back are E, A, Bm; read them as V–I–ii in A or VII–III–iv in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → A (V → I in A, VII → III in F#m): authentic cadence — the strongest arrival home. Ending on A, 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.