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)
Kerimcan Durmaz - Salla - Chord
Key A major – F# minor Chords Bm7, C#m7 Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: A | Gbm | F#m
Capo: 0
Bm7 C#m7 Bm7 C#m7
Hey, benim, uzun zamandır konuşamadık biliyorum
Belki inanmayacaksın ama
Bende bir şeyler değişti
Bm7 C#m7
Seviyodum ama başta
Bm7
Belli ki göremedin asla
C#m7
Yapamadım o limanda
Bm7 C#m7
Başka bi senle düştüm aşka
Bm7
Belki gerçek, belki yalanla
C#m7
Kalmadı kalbimde yer anla
Bm7 C#m7
İnanırım, senden bir başkasına
Bm7 C#m7
Sonu belliymiş hikayemizin en baştan
Bm7 C#m7
Kazanırım sensizlik kumarını
Bm7 C#m7
Yazarım bu oyunun kuralını sil baştan
Bm7 C#m7
Salla, ra beni geceleri salla
Bm7
Ya da beni hiç yorma
C#m7
Tasını tarağını topla, yallah
Bm7 C#m7
Biliyoduk en baştan
Bm7
Bak beceremedik telaştan
C#m7
Geçemedik o sınavdan
Bm7 C#m7
Olamadı denedik inatla
Bm7
Sanki bu aşk ikimize fazla
C#m7
Bırakalım bitsin şu anda
Bm7 C#m7
Kazanırım sensizlik kumarını
Bm7 C#m7
Yazarım bu oyunun kuralını sil baştan
Bm7 C#m7
Salla, ra beni geceleri salla
Bm7
Ya da beni hiç yorma
C#m7
Tasını tarağını topla, yallah
End of song Play again?
Kerimcan Durmaz - Salla Tabs
NotesX
Harmony analysis
Kerimcan Durmaz – Salla: key and chord analysis
The song opens on Bm7 and ends on C#m7. 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. 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 | — |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 20× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 20× |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| 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 | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 20× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 20× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | — |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 2 different chords appear 40 times in total; 2 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over C#m7, land on C#, E, G# — 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening Bm7 lays a solid floor for everything that follows. Bm7, C#m7 carry the song: ii7–iii7 relative to A, iv7–v7 relative to F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on C#m7, the song seals A 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.
Kerimcan Durmaz - Salla 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Umur Doma & Kerimcan DurmazMusic: Umur Doma & Kerimcan Durmaz
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.