Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Sıla Şahin - Adını Yazdım Samet Kardeşler - Chord
Key Ab major – F minor Chords Db, Cm, Bbm, Eb, Fm Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Cm Db
Neden hep gidiyorsun tersime
Cm Db
Sen bi gelemedin ki kendine
Cm Db
Daha dün gibi geliyoken aklıma
Bbm Cm
Unutursak her şeyi bir gün
Cm Db
Adını yazdım çizdim kalbime
Cm Db
İşledim seni santim santim
Cm Db
Toz olup gitme sen orda hep kal diye
Bbm Cm
Raflara koyup resmini silmedim
Eb Db
Miladım ibadetim ol kitabım
Eb
Yok mu aşktan ikranım
Db
Sağım solum hep hazanım
Cm Db
Sana mutlu ol demekten içim acıyor
Cm Db
Hiç dinlemiyosun beni görüyosun hor
Cm Db
Bi görsen şu halimi be ölüyorum off
Bbm Db
Sana dön demekten artık dilim acıyo
Eb
Sandım geçti bir hafta
Db
Oysa bir saat burda
Eb
Geçmiyor takvim sensiz
Db
Sönmüyor mumlar burda
Cm Db
Adını yazdım çizdim kalbime
Cm Db
İşledim seni santim santim
Cm Db
Toz olup gitme sen orda hep kal diye
Bbm Cm
Raflara koyup resmini silmedim
Fm
Her lafına boyun eğiyorum
Bbm Cm
Bi ben oldum sana Leyla
Bbm
Gel affeyle oldum harab
Db
Aşk kitabımızı yaza yaza
End of song Play again?
Sıla Şahin - Adını Yazdım Samet Kardeşler Tabs
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Harmony analysis
Sıla Şahin – Adını Yazdım Samet Kardeşler: key and chord analysis
The song opens on Cm and ends on Db. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because Fm is heard 1 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 6× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 16× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 18× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 4× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 1× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 1× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 6× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 16× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 18× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 4× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 45 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×3
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1
The move to watch is Db → Eb, heard 3 times. From the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Cm; the ear learns where home is within a second. Db, Cm, Bbm, Eb carry the song: IV–iii–ii–V relative to Ab, VI–v–iv–VII relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. Ending on Db, the song seals Ab 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.
Sıla Şahin - Adını Yazdım Samet Kardeşler 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: Samet Kardeşler - Sıla ŞahinMusic: Samet Kardeşler - Sıla ŞahinArrangement: Onur Atlı
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