Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Emir Şamur - Saçma Sapan - Chord
Key F major – D minor Chords Am, Bb, Dm, Gm, F, Fmaj7, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Bb
Saçma sapan cümlelerden
Am
Hayatımı mahveden gülmelerden
Fmaj7
İnandığım bu onca yeminlerden
Gm
Elimden kayıp gidenlerden
Bb Am
Ömrümden, aldın beni benden
Fmaj7
Şimdi haber yok o gemilerden
Am
Gönüldedir gözümde silinenler
Dm Bb Am
Unutuldu tüm bilinenler, off, yeniden gel
Gel parçalansın bütün doğrularım
Ben hayalimde sadece seni kurgularım
Bb Dm Bb
Harap oldu duygularım ve kaçtı uykularım
Am
Benim kaygılarım var, acılarım, off
F
Tükenmeyen ayrılık sancıları
Gm C Am
Zamanla demir aldı gönlümün yolcuları
Dm Bb
Saçma sapan cümlelerden
Am
Hayatımı mahveden gülmelerden
F
İnandığım bu onca yeminlerden
Gm
Elimden kayıp gidenlerden
Bb Am
Ömrümden, aldın beni benden
F
Şimdi haber yok o gemilerden
Am
Gönüldedir gözümde silinenler
End of song Play again?
Emir Şamur - Saçma Sapan Tabs
NotesX
Harmony analysis
Emir Şamur – Saçma Sapan: key and chord analysis
The song opens on Dm and ends on Am. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between F major and D minor because it opens on Dm and F is heard 5 times against 4 for Dm. 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 F or to Dm; 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 | F | Tonic — home | F · A · C | 3× |
| Imaj7 | Fmaj7 | Tonic — home | F · A · C · E | 2× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 3× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 9× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 7× |
| V | C | Dominant — strongest pull home | C · E · G | 1× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 4× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 4× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 3× |
| IIImaj7 | Fmaj7 | Relative major — the bright side | F · A · C · E | 2× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 3× |
| v | Am | Minor dominant — soft pull | A · C · E | 9× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 7× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 1× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 29 times in total; 7 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
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
- Bb Dm FIV → vi DmVI → iVI → i ×1
- Gm C Fii → Vii → V Dmiv → VII ×1
The move to watch is Am → Dm, heard 2 times. From the F side it reads iii → vi; from the Dm side it is v → i (natural-minor cadence: gentle, modal arrival). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Dm lays a solid floor for everything that follows. The chords that keep coming back are Am, Bb, Dm, Gm; read them as iii–IV–vi–ii in F or v–VI–i–iv in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. The final chord is Am; the ear comes to rest in F.
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.
Emir Şamur - Saçma Sapan 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: Emir ŞamurMusic: Emir ŞamurArrangement: Furkan Eroğlu
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