Anonim - İki Keklik - Chord

Key A major – F# minor Chords C#m, E, F#m, D, Bm, F# Easy key C

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Capo 0

E    C#m   Bm    F#m  F#  C#m
İki keklik bir kayada öötüyor      
F#m            Bm     F#m    E   D        C#m E    D   C#m
Ötme de keklik derdim bana yeetiyor aman aman yeeeeeetiyor

E   C#m  Bm      F#m   F#  C#m
Annesine kara da haber gidiyor
F#m           Bm        F#m        E    D         C#m E   D   C#m
Yazması oyalı kundurası boyalı, yaaar benim aman aman yaaar benim
F#m             Bm     F#m     E    D         C#m E   D   C#m
Uzun da geceler yar koynuma saaar benim aman aman saaar benim
   
E   C#m    Bm    F#m   F#  C#m
İki keklik bir derede su içer
F#m              Bm     F#m     E   D         C#m E   D  C#m
Dertli de keklik dertsizlere deert açar aman aman deert açar

E    C#m   Bm    F#m    F#    C#m
Buna yanık sevda derler tez geçer     
F#m           Bm        F#m        E    D         C#m E  D    C#m
Yazması oyalı kundurası boyalı, yaaar benim aman aman yaaar benim
F#m             Bm     F#m     E    D         C#m E   D   C#m
Uzun da geceler yar koynuma saaar benim aman aman saaar benim

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Anonim - İki Keklik Tabs

NotesX

Harmony analysis

Anonim – İki Keklik: key and chord analysis

The song opens on E and ends on C#m. 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 F# minor side because F#m is heard 16 times while A never appears. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 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	—
ii	Bm	Supertonic — prepares the dominant	B · D · F#	10×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	20×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	12×
V	E	Dominant — strongest pull home	E · G# · B	16×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	16×
V/ii	F#	Secondary dominant V/ii — leads to Bmsecondary dominant	F# · A# · C#	4×
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#	16×
V/iv	F#	Secondary dominant V/iv — leads to Bmsecondary dominant	F# · A# · C#	4×
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#	10×
v	C#m	Minor dominant — soft pull	C# · E · G#	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	12×
VII	E	Subtonic — steps back to the tonic	E · G# · B	16×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 78 times in total; 5 of them sit naturally inside the shared scale. F# acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Bm F#m Aii → vi F#miv → iminor plagal ×10
C#m F#m Aiii → vi F#mv → inatural-minor cadence ×6

The move to watch is Bm → F#m, heard 10 times. From the F#m side it is iv → i (minor plagal: deep and melancholic); from the A side it reads ii → vi. 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 C#m, land on C#, E, G# — 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 F#m, land on F#, A, C# — 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 E, the song gives away its key from the very first bar. The backbone is C#m, E, F#m, D — iii–V–vi–IV from the A side, v–VII–i–VI from the F#m side. F# adds a moment of surprise: secondary dominant V/ii — leads to Bm. Keep an ear on Bm → F#m (ii → vi in A, iv → i in F#m): minor plagal — deep and melancholic. The final chord is C#m; 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.