Son Feci Bisiklet - Modern Zamanlar - Chord

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

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Capo 0

D       E       D
Son gelince aklına 
         E        Bm    F#
Bir de baktı ki etrafına
   C#
Düşündü

D             E         D
Debelenip durdu endişesinde
            E         Bm   F#
Kendini gördü parfüm şişesinde
   C#
Düşündü

D                E             D
Belki modern zamanlar onun içindir
                 E        Bm   F#
İlkel olmak bir seçim değildir 
  C#
Diye

D              E        F# 
Bundan sonra çıkmaz karşına 

Bm                A
Hayır oralara gitmeyecek
Bm                          A
Gitse de sizle aynı şeyi içmeyecek
Bm                   A
Belki canı fazla isteyecek
G#         
Ama sevmeden sevişmeyecek

Bm                 A
Siz yine de ona kanmayın
Bm                           A
Neye karşı olduğunu bildiğini sanmayın
Bm                        A
Belki en güçlü hissettiği yaş
                      G#
Ama kazanmayı umduğu savaş
                              D   E
Çoktan bitmiş ve herkes kaybetmiş
             D   E
Herkes kaybetmiş

D                 E
Bilmez o bu olay ne zaman başladı
D           E      Bm   F#
Ama o hep zamanı suçladı
  C#   
Değişti diye

D                E
Zaman onu ne gördü ne umursadı
D             E        Bm   F#
Ne de var olduğunu kanıtladı
 C#
Durdu öylece

D               E      F# 
Bundan sonra çıkmaz karşına 
D                E     F# 
Bundan sonra o tek başına

End of song Play again?

Son Feci Bisiklet - Modern Zamanlar Tabs

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Harmony analysis

Son Feci Bisiklet – Modern Zamanlar: key and chord analysis

The song opens on D and ends on F#. 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)
#7 = E# (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 A major and F# minor because A is heard 6 times while F#m never appears and the major V chord points straight at F#m. 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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	6×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	11×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	5×
IV	D	Subdominant — moves away from home	D · F# · A	15×
V	E	Dominant — strongest pull home	E · G# · B	15×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	—
V/ii	F#	Secondary dominant V/ii — leads to Bmsecondary dominant	F# · A# · C#	8×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—
V/iii	G#	Secondary dominant V/iii — leads to C#msecondary dominant	G# · B# · D#	2×

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	—
V/iv	F#	Secondary dominant V/iv — leads to Bmsecondary dominant	F# · A# · C#	8×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
V/v	G#	Secondary dominant V/v — leads to C#msecondary dominant	G# · B# · D#	2×
III	A	Relative major — the bright side	A · C# · E	6×
iv	Bm	Subdominant — moves away from home	B · D · F#	11×
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#	5×
VI	D	Submediant — warm colour	D · F# · A	15×
VII	E	Subtonic — steps back to the tonic	E · G# · B	15×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 62 times in total; 4 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C# is V/vi, a secondary dominant heading for F#m. F#, G# act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

D E AIV → VIV → V F#mVI → VIIVI → VII ×15

The move to watch is D → E, heard 15 times. From the A side it reads IV → V (IV → V: the lift that builds tension before home); from the F#m side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — 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.
When C# comes, swap the scale's E for E#: 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 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

The first chord is D; the ear learns where home is within a second. The chords that keep coming back are D, E, Bm, F#; read them as IV–V–ii–V/ii in A or VI–VII–iv–V/iv in F#m. F# is the interesting twist: in A it is a chromatic chord (V/ii), while in F#m it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on D → E (IV → V in A, VI → VII in F#m): IV → V — the lift that builds tension before home. The final chord is F#; 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.