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)
Kendimden Hallice - Akşamüstü Saatleri - Chord
Key A major – F# minor Chords F#m, E, A, Bm, D, C#m, F# Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
Ben iyiyim, güneş batınca ara demiştin (Alo)
D F#m E A
Yine akşamüstü saatleri doldu gözümde
D F#m E A
Dünden kalma gibiyim işin özünde
Bm F#m
Of, dur da anlatayım
Bm F#m
Ama yok dersen anlarım
D F#m E A
D F#m E A
Sanki evin güzel yeri senle güzeldi
D F#m E A
Hiçbi' vakit geçmedi sensiz ileri
Bm F#m
Of, dur da anlatayım
Bm F#m
Ama yok dersen anlarım
Bm F#m
Yine akşam üstü saatleri doldu gözümde
E A
Bi' gelsen ne güzel olur evin bahçesi
Bm F#m
Yine akşam üstü saatleri doldu gözümde
E A
Bi' gelsen ne güzel güler evin
D E C#m F# Bm E A
Kedisi
D F#m E A
Vay be
D F#m E A
Sonbahar yaprak döktü gözümün önünde
D F#m E A
Hangi sokak bizimdi bu şehirde
Bm F#m
Of, gel de hatırlayım
Bm F#m
Ama yok dersen anlarım
Bm F#m
Yine akşam üstü saatleri doldu gözümde
E A
Bi' gelsen ne güzel olur evin bahçesi
Bm F#m
Yine akşam üstü saatleri doldu gözümde
E A
Bi' gelsen ne güzel güler evin
D E C#m F# Bm E A
Kedisi
D F#m E A
End of song Play again?
Kendimden Hallice - Akşamüstü Saatleri Tabs
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Harmony analysis
Kendimden Hallice – Akşamüstü Saatleri: key and chord analysis
The song opens on D and ends on A. 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)
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 A and F#m is heard 19 times against 15 for A. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | 15× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 12× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 2× |
| 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 | 11× |
| V | E | Dominant — strongest pull home | E · G# · B | 17× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 19× |
| V/ii | F# | Secondary dominant V/ii — leads to Bmsecondary dominant | F# · A# · C# | 2× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 19× |
| V/iv | F# | Secondary dominant V/iv — leads to Bmsecondary dominant | F# · A# · C# | 2× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 15× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 12× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 2× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 11× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 17× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 78 times in total; 6 of them sit naturally inside the shared scale. F# acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- E A AV → Iauthentic cadence F#mVII → III ×15
- Bm F#m Aii → vi F#miv → iminor plagal ×10
- D F#m AIV → vi F#mVI → iVI → i ×9
- D E AIV → VIV → V F#mVI → VIIVI → VII ×2
- Bm E Aii → Vii → V F#miv → VII ×2
The move to watch is E → A, heard 15 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 F#m, land on F#, A, C# — 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 A, land on A, C#, E — 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening D lays a solid floor for everything that follows. The chords that keep coming back are F#m, E, A, Bm; read them as vi–V–I–ii in A or i–VII–III–iv in F#m. F# adds a moment of surprise: secondary dominant V/ii — leads to Bm. Keep an ear on E → A (V → I in A, VII → III in F#m): authentic cadence — the strongest arrival home. The final chord is A; 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.
Kendimden Hallice - Akşamüstü Saatleri 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: Ozan ÖzalpMusic: Ozan Özalp
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