Adamlar - Dal - Chord

Key G major – E minor Chords Bm, D, G, Em, F#, C, Am, F#m … Easy key C (capo 7)

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Capo 0

Bm  Em  G  F#  Bm  Em  G

Bm     Em      D      C       Bm  Em  G  C
Yaralı bağrına dizmiş inciler
Bm       Em      D       C        Bm  G  F#  F#
Vitrinin altında gizli kelepçeler
Bm     Em        D    C     Bm  Em  D  C
Şişmiş içime mütevazı katkılar
Bm        Em     D  C        Bm  G  F#  F#
Ya yanına al beniii ya da bi sal

Bm  D  G    F#
          Iska
Bm  D  G     F#
        Bana kızma
Bm  D  G      F#
        Kalbi sızlar ah
Bm  D  G         F#
        Dallanan anlar
Bm  D  G         F#
        Hepimizi bağlar
Bm  D  G         F#
        Hepimizi bağlar

Bm      Em     D      C
Dal kırılır en ince yerinden
Bm      Em     G       C
Daldı rüyaya gelince derinden
Bm   Em
Dal, dal
D       C        Bm
Bak içerde neler var

Bm  G  Em  C  Am  F#m  D  C
Bm  G  Em  C  Em  D  G  D#

Bm      Em       D     C      Bm  Em  G  C
Kapatır kapıları çeker perdeler
Bm       Em     D       C       Bm  G  F#  F#
Kafesler içinde oyununu sergiler
Bm    Em      D       C       Bm  Em  G  C
Sisli gölgesine bağlı doğuştan
Bm      Em      D       C       Bm  G  F#  F#
Aklında bi dize var elinde balta

Bm  D  G    F#
          Iska
Bm  D  G     F#
        Bana kızma
Bm  D  G      F#
        Kalbi sızlar ah
Bm  D  G         F#
        Dallanan anlar
Bm  D  G         F#
        Hepimizi bağlar
Bm  D  G         F#
        Hepimizi bağlar

Bm      Em     D      C
Dal kırılır en ince yerinden
Bm      Em     G       C
Daldı rüyaya gelince derinden
Bm   Em
Dal, dal
D       C        Bm
Bak içerde neler var

End of song Play again?

Adamlar - Dal Tabs

NotesX

Harmony analysis

Adamlar – Dal: key and chord analysis

The song opens on Bm and ends on Bm. Its chords belong to both G major and Em, so every chord below is read both ways.

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F# (leading tone, pulls home)
4 = C (the note that leans on the 3rd)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G major side because G is heard 26 times against 23 for Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to G or to Em; 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	26×
ii	Am	Supertonic — prepares the dominant	A · C · E	1×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	40×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	21×
V	D	Dominant — strongest pull home	D · F# · A	27×
bVI	D#	Borrowed from the parallel minorborrowed chord	D# · G · A#	1×
vi	Em	Relative minor — the melancholy side	E · G · B	23×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
V/iii	F#	Secondary dominant V/iii — leads to Bmsecondary dominant	F# · A# · C#	21×
vii	F#m	Chromatic colour chordoutside the key	F# · A · C#	1×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	23×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
V/v	F#	Secondary dominant V/v — leads to Bmsecondary dominant	F# · A# · C#	21×
ii	F#m	Chromatic colour chordoutside the key	F# · A · C#	1×
III	G	Relative major — the bright side	G · B · D	26×
iv	Am	Subdominant — moves away from home	A · C · E	1×
v	Bm	Minor dominant — soft pull	B · D · F#	40×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	21×
VII	D	Subtonic — steps back to the tonic	D · F# · A	27×
#VII	D#	Chromatic colour chordoutside the key	D# · G · A#	1×

Analysis

The key pair is G major and its relative E minor (1 sharp). 9 different chords appear 161 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. D# is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bm Em Giii → vi Emv → inatural-minor cadence ×20
D G GV → Iauthentic cadence EmVII → III ×13
C Em GIV → vi EmVI → iVI → i ×1

The move to watch is Bm → Em, heard 20 times. From the G side it reads iii → vi; from the Em 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

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over Bm, land on B, D, F# — 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
On D#, follow the chord's notes (D# · G · A#) rather than the key's scale — it's a borrowed colour.

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 G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on Bm, the song gives away its key from the very first bar. The backbone is Bm, D, G, Em — iii–V–I–vi from the G side, v–VII–III–i from the Em side. F# adds a moment of surprise: secondary dominant V/iii — leads to Bm. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. The final chord is Bm; the ear comes to rest in G.

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.