Emre Fel - Bilmem Bu Yol Nereye Çıkar - Chord

Key A major – F# minor Chords F#m, Bm, A, B, D, E, C#m Easy key G (capo 2)

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Capo 0

F#m  F#m  B  Bm  A  A  D  E  Bm

F#m
Bu dünyaya geldim geleli

Döndüm hep aynı yerde

Dolandım her bir köşeleri

Türlü türlü alemde

Bm
Ne varsa dünden geri kalan

Oda toz olur ellerimde
F#m
Tutamam hiçbir sözüm olanı

Yok amacıom bir gayemde

A                      B
Bilmem bu yol nereye çıkar
Bm               F#m
Dağları dereleri var
D                  E
Bi yolunu bulamam ama
C#m                F#m
Yürü yürü nereye kadar

F#m
Karalı günüm karalı gecem

Gündüzüm yok gecemde

Her gün harman hergünüm içer

Can kalmamış bedende

  Bm
Dilim utanır iki söz edemez

Konuşamaz kimselerle
    F#m 
Söz anlamaz da çağre bulamaz

Bu nece yaşam nece gün ölmek

End of song Play again?

Emre Fel - Bilmem Bu Yol Nereye Çıkar Tabs

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Harmony analysis

Emre Fel – Bilmem Bu Yol Nereye Çıkar: 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.

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)

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 F# minor side because it both starts and finishes on F#m and F#m is heard 8 times against 3 for A. 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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	3×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	5×
V/V	B	Secondary dominant V/V — leads to Esecondary dominant	B · D# · F#	2×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	1×
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	2×
V	E	Dominant — strongest pull home	E · G# · B	2×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	8×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	8×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	3×
iv	Bm	Subdominant — moves away from home	B · D · F#	5×
IV	B	Major IV — Dorian / melodic-minor colourmodal colour	B · D# · F#	2×
v	C#m	Minor dominant — soft pull	C# · E · G#	1×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	2×
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). 7 different chords appear 23 times in total; 6 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Bm F#m Aii → vi F#miv → iminor plagal ×4
D E AIV → VIV → V F#mVI → VIIVI → VII ×2
C#m F#m Aiii → vi F#mv → inatural-minor cadence ×1

The move to watch is Bm → F#m, heard 4 times. From the F#m side it is iv → i (minor plagal: deep and melancholic); from the A side it reads ii → 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 Bm, land on B, D, F# — 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 first chord is F#m; the ear learns where home is within a second. F#m, Bm, A, B carry the song: vi–ii–I–V/V relative to A, i–iv–III–IV relative to F#m. B adds a moment of surprise: secondary dominant V/V — leads to E. Keep an ear on Bm → F#m (ii → vi in A, iv → i in F#m): minor plagal — deep and melancholic. Ending on F#m, the song seals F#m as home.

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.