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)
Kendine Müzisyen - Nereye Gidiyorsun - Chord
Key A major – F# minor Chords E, F#m, D, C# Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m E D C#
F#m E
Gölgeni, ismini sil yavaş yavaş
D E C#
Giderken bu kentten tükür yüzüne, yalnızlığımın
F#m E
Kalbini, kendini sök yavaş yavaş
D E C#
Git derken bu kentten ağlama, sus
F#m E
Unut ne yaptı sana, unut ne söyledi
D C#
Unut ne varsa vazgeçtiğin
F#m E
Yüzümde korkularla, içimde çığlıklarla
D C#
Kalbimde simsiyahlar, nereye gidiyorsun
F#m E
Hep bu şarkılarla, kıymetsiz dualarla
D C#
Utanmaz bir yağmurla, nereye gidiyorsun
F#m E
Yolları, duvarları geç yavaş yavaş
D C#
Giderken bu kentten bir hiç gibi bırak yalnızlığını
F#m E
Ve o siyah saçlarını kes yavaş yavaş
D C#
Giderken, terk ederken savur yüzüne yalnızlığının
F#m E
Ve unut ne yaptı sana, unut neler anlattı
D C#
Unut ne varsa vazgeçtiğin
F#m E
Yüzümde korkularla, içimde çığlıklarla
D C#
Kalbimde simsiyahlar, nereye gidiyorsun
F#m E
Bu sahte baharlarla, kıymetsiz dualarla
D E
Utanmaz bir yağmurla, yine mi gidiyorsun
F#m E D C#
Çocuk...
Her vedanın ardında bir bekleyeni vardır kimsenin bilmediği...
Ve her gözyaşının altında bir dua kimsenin duymadığı...
Çevir gökyüzüne başını...
Bakma arkana!
Daha sert basa basa, daha güçlü!
Anlat bu kara şehrin yollarına ak adımlarınla!
Gitmek yenilmek değil kazanmak da!
Gitmek gitmektir işte...
Hepsi bu...
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Kendine Müzisyen - Nereye Gidiyorsun Tabs
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Harmony analysis
Kendine Müzisyen – Nereye Gidiyorsun: key and chord analysis
The song opens on F#m and ends on C#. 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)
- #7 = E# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because it opens on F#m, F#m is heard 12 times while A never appears and the major V chord points straight at F#m. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| 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# | 11× |
| IV | D | Subdominant — moves away from home | D · F# · A | 12× |
| V | E | Dominant — strongest pull home | E · G# · B | 15× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 12× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 12× |
| 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# | — |
| 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# | 11× |
| VI | D | Submediant — warm colour | D · F# · A | 12× |
| 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). 4 different chords appear 50 times in total; 3 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.
Chord movement
- C# F#m AV/vi → vi F#mV → iharmonic-minor cadence ×10
- D E AIV → VIV → V F#mVI → VIIVI → VII ×3
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×1
The move to watch is C# → F#m, heard 10 times. From the F#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the A side it reads V/vi → 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 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.
- Over D, land on D, F#, A — 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening F#m lays a solid floor for everything that follows. The chords that keep coming back are E, F#m, D, C#; read them as V–vi–IV–V/vi in A or VII–i–VI–V in F#m. C# is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C# → F#m (V/vi → vi in A, V → i in F#m): harmonic-minor cadence — the major V resolves dramatically. It closes on C#, letting the A 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.
Kendine Müzisyen - Nereye Gidiyorsun 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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Lyrics: Cem AdrianMusic: Cem Adrian
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