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)
Son Feci Bisiklet - Çikolata - Chord
Key A major – F# minor Chords E7, A7, B7 Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
E7
Bu işin buralara varacağını sanmazdım
Söndürmeyeceğini bilseydim hiç yanmazdım
A7
Yine gel
E7
Kötüsü bile güzel
B7 A7 E7 B7
Sev beni çikolata sevdiğin gibi
E7
Yorma beni dedin ben de yormadım
Çok merak ettim ama sormadım
A7
Bedeli ne
E7
O dövmenin beline
B7 A7 E7 B7
Sev beni çikolata sevdiğin gibi
E7
Buralara varacağını sanmazdım
Söndürmeyeceğini bilseydim hiç yanmazdım
A7
Yine gel
E7
Kötüsü bile güzel
B7 A7 E7 B7
Sev beni çikolata sevdiğin gibi
E7
Anladım belli ki bu aşkın ölümü
A7
Hatunun aklında bir sonraki öğünü
E7
Kesemiyorum önünü
B7 A7
Sevmedi beni
E7
Çikolata sevdiği gibi
Ooooh
End of song Play again?
Son Feci Bisiklet - Çikolata Tabs
NotesX
Harmony analysis
Son Feci Bisiklet – Çikolata: key and chord analysis
The song opens on E7 and ends on E7. 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: to us the song feels closer to the A major side because A is heard 8 times while F#m never appears. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| I7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 8× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| V7/V | B7 | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# · A | 7× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| V7 | E7 | Dominant — strongest pull home | E · G# · B · D | 12× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 8× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| IV7 | B7 | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# · A | 7× |
| 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# | — |
| VI | D | Submediant — warm colour | D · F# · A | — |
| VII7 | E7 | Subtonic — steps back to the tonic | E · G# · B · D | 12× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 3 different chords appear 27 times in total; 1 of them sit naturally inside the shared scale. B7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- E7 A7 AV7 → I7authentic cadence F#mVII7 → III7 ×4
- B7 E7 AV7/V → V7secondary resolution F#mIV7 → VII7 ×3
The move to watch is E7 → A7, heard 4 times. From the A side it reads V7 → I7 (authentic cadence: the strongest arrival home); from the F#m side it is VII7 → III7. 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 E7, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over B7, land on B, D#, F# — 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
Starting on E7, the song gives away its key from the very first bar. The chords that keep coming back are E7, A7, B7; read them as V7–I7–V7/V in A or VII7–III7–IV7 in F#m. B7 adds a moment of surprise: secondary dominant V/V — leads to E. Keep an ear on E7 → A7 (V7 → I7 in A, VII7 → III7 in F#m): authentic cadence — the strongest arrival home. It closes on E7, 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.
Son Feci Bisiklet - Çikolata 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: Arda KemirgentMusic: Arda KemirgentArrangement: Son Feci Bisiklet
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