Son Feci Bisiklet - Viva La Vadi - Chord

Key A major – F# minor Chords A, E, F#m, Bdim, D, C#7, C#m, Bm … Easy key C

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Capo 0

A           E
Bir yolunda gitmedi
F#m          C#7        D  E
Bu küçük gezegenin işleri
A          Bdim  E     A  Bdim      A
Sonsuz ömürleri  var gibi o kibirleri
Bdim      A      Bdim       A  D  E
Petrol kokardı bakımlı elleri

   A            E
Geçmiş geleceği belirler
F#m           C#7          D     E
Diye hep bir ağızdan yalan söylerler
A            Bdim  E      A
Herşeyi geri çevirmek mümkün
   Bdim           A
Birlikte ve topyekün
Bdim      A          Bdim       A   D  E
Boyun eğmeden, boyun eğene değmeden

D                A      Bm
Öyle bir hayat düşün ki
     F#m         Cdim7     C#          D   E
Verdiğin o son nefes olsun milyonlarca ses

A
Bi saniye durun
                C#7
Çünkü ben hiç bişeyden anlamıyorun
        F#m         C#m
Anlamıyorum, ne demek
        F#m         C#m
Anlamıyorum, sevmemek
        F#m         C#m
Anlamıyorum, görmemek
        F#m  C#
Anlamıyorum

Bm          F#m     C#         F#m
Bir fikirle geldi bana bu deli dalga
Bm             F#m        G#  D  E
Söylemek yasak ama sen anla

A             E
Terk edelim şehirlerini
F#m     C#7       D     E
Atanmış padişahları, vezirlerini
A               Bdim    E   A
Dört bir yandan yollara düşelim
Bdim        A
Ve fark edelim
Bdim    A       Bdim        A   D  E
Dünya bizim, onlara vermeyelim

A           E
Bir yolunda gitmedi
F#m          C#7        D  E
Bu küçük gezegenin işleri
A            Bdim  E    A
Bundan sonra bize ne derler
   Bdim        A
Ne yer ne içerler
Bdim      A
Hiç umursamam
    Bdim            A  D  E
Ama yine de iyi günler

A
Şimdi benle gelin
            C#7
Buraları en baştan keşfedelim
          F#m       C#m
Haydi gidelim, nereye
          F#m       C#m
Yeşil vadiye, ne zaman
                 F#m       C#m
İçinde olduğumuz an, ne zaman
                 F#m
İçinde olduğumuz an

End of song Play again?

Son Feci Bisiklet - Viva La Vadi Tabs

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Harmony analysis

Son Feci Bisiklet – Viva La Vadi: key and chord analysis

The song opens on A and ends on F#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)
#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 it comes to rest on F#m, it opens on A, A is heard 27 times against 16 for F#m 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	27×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	3×
ii°	Bdim	Chromatic colour chordoutside the key	B · D · F	16×
vii°7/iii	Cdim7	Secondary leading-tone chord vii°7/iii — leads to C#msecondary dominant	C · Eb · Gb · A	1×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	6×
V7/vi	C#7	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G# · B	6×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	3×
IV	D	Subdominant — moves away from home	D · F# · A	11×
V	E	Dominant — strongest pull home	E · G# · B	18×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	16×
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#	1×

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	16×
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#	1×
III	A	Relative major — the bright side	A · C# · E	27×
iv	Bm	Subdominant — moves away from home	B · D · F#	3×
iv°	Bdim	Chromatic colour chordoutside the key	B · D · F	16×
vii°7/v	Cdim7	Secondary leading-tone chord vii°7/v — leads to C#msecondary dominant	C · Eb · Gb · A	1×
v	C#m	Minor dominant — soft pull	C# · E · G#	6×
V7	C#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G# · B	6×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	3×
VI	D	Submediant — warm colour	D · F# · A	11×
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). 11 different chords appear 108 times in total; 6 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#7 / C# is V7/vi, a secondary dominant heading for F#m. Cdim7, G# act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

E A AV → Iauthentic cadence F#mVII → III ×13
D E AIV → VIV → V F#mVI → VIIVI → VII ×10
C#m F#m Aiii → vi F#mv → inatural-minor cadence ×6
E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×4
Bm F#m Aii → vi F#miv → iminor plagal ×3
C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×2

The move to watch is E → A, heard 13 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 A, land on A, C#, E — 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.
When C#7 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

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

The song's harmonic story

The first chord is A; the ear learns where home is within a second. The backbone is A, E, F#m, Bdim — I–V–vi–ii° from the A side, III–VII–i–iv° from the F#m side. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on E → A (V → I in A, VII → III in F#m): authentic cadence — the strongest arrival home. It closes on F#m, letting the F#m side have the last word.

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.