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)
Ümit Sayın - Adaletin Buysa Dünya - Chord
Key A major – F# minor Chords F#m, D, Bm, C#m, Dmaj7, A, C#, E Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m D
F#m Dmaj7
Ne verdin neler aldın dünya
F#m Dmaj7
Ne umdum da ne buldum senden
Bm A C#m
Ne arzular ne hayallerim vardı
Dmaj7 C#m
Soldu hepsi birer birer
Bm
Döküldü gönül dalımdan
C#
Vuruldu hep ümitlerim
Bu hayat yolunda
F#m D
Yalansın be dolansın
Bm C#m
Adaletin buysa dünya
F#m D Bm
Gör artık neler ettin bana
C#m
Fani dünya
F#m D
Yalansın be dolansın
Bm C#m
Adaletin buysa dünya
F#m D Bm
Dur artık yeter zulmün bana
C#m D E F#m
Fani dünya, oof, oooff
F#m D
F#m Dmaj7
Yaşam dedin boyun eğdim hep sana
F#m Dmaj7
A dünya oyun ettin hep sen bana
Bm A C#m
Ne arzular ne hayallerim vardı
Dmaj7 C#m
Soldu hepsi birer birer
Bm
Döküldü gönül dalımdan
C#
Vuruldu hep ümitlerim
Bu hayat yolunda
F#m D
Yalansın be dolansın
Bm C#m
Adaletin buysa dünya
F#m D Bm
Gör artık neler ettin bana
C#m
Fani dünya
F#m D
Yalansın be dolansın
Bm C#m
Adaletin buysa dünya
F#m D Bm
Dur artık yeter zulmün bana
C#m D E F#m
Fani dünya, oof, oooff
End of song Play again?
Ümit Sayın - Adaletin Buysa Dünya Tabs
NotesX
Harmony analysis
Ümit Sayın – Adaletin Buysa Dünya: key and chord analysis
The song opens on F#m and ends on F#m. 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 both starts and finishes on F#m, F#m is heard 16 times against 2 for A 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 | 2× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 12× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 12× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | 2× |
| IV | D | Subdominant — moves away from home | D · F# · A | 12× |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 6× |
| V | E | Dominant — strongest pull home | E · G# · B | 2× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 16× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| 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 | — |
| III | A | Relative major — the bright side | A · C# · E | 2× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 12× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 12× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | 2× |
| VI | D | Submediant — warm colour | D · F# · A | 12× |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 6× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 2× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 8 different chords appear 64 times in total; 7 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#m F#m Aiii → vi F#mv → inatural-minor cadence ×6
- C# F#m AV/vi → vi F#mV → iharmonic-minor cadence ×2
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×2
- D F#m AIV → vi F#mVI → iVI → i ×2
- Dmaj7 F#m AIVmaj7 → vi F#mVImaj7 → iVI → i ×2
- Bm C# Aii → V/vi F#miv → Viv → V ×2
The move to watch is C#m → F#m, heard 6 times. From the F#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the A side it reads iii → 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 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.
- 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on F#m, the song gives away its key from the very first bar. The backbone is F#m, D, Bm, C#m — vi–IV–ii–iii from the A side, i–VI–iv–v from the F#m side. 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#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. 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.
Ümit Sayın - Adaletin Buysa Dünya 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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