Sakiler - İncilerin Dökülür - Chord

Key C major – A minor Chords Am, Em, Dm, Fmaj7, F, Bm Difficulty already in its easiest key

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Capo 0

Fmaj7
Ziyan, ayrı geçen zaman ziyan
                Am
Ne olur bana biraz inan

Aşıklar makamında cümlesiz koyma beni
                     Fmaj7
Söyleyecek çok sözüm var, duy
                                       Am
Kırılmaz hayallerimi, hiç sordun mu ki halimi

Ne yer, ne içer, kiminle

Nerede, ne alemlerde

Kimseyle var mı derdi?

Am       Dm                 F        Em
Yok, incilerin dökülür bende özledim dersen
Am       Dm             F                Em
Gel, incinmiş şu kalbime anlat kendini desen

Am                       Em
Al, al şu aşkını benden, sığmıyor cümlelerime
      Bm                         Am
Ya da dur, içinde yoksam boşver, dokunma hecelerime
                            Em
Dilim tutulsun yine adın karıştı kelimelerime
Bm                        Dm
Gün doğarken yoksun madem dokunma gecelerime

Karışma hecelerime

Fmaj7  Fmaj7  Am  Am  Am
x2

Am       Dm                 F        Em
Yok, incilerin dökülür bende özledim dersen
Am       Dm             F                Em
Gel, incinmiş şu kalbime anlat kendini desen

Am                       Em
Al, al şu aşkını benden, sığmıyor cümlelerime
      Bm                         Am
Ya da dur, içinde yoksam boşver, dokunma hecelerime
                            Em
Dilim tutulsun yine adın karıştı kelimelerime
Bm                        Dm
Gün doğarken yoksun madem dokunma gecelerime

Karışma hecelerime

End of song Play again?

Sakiler - İncilerin Dökülür Tabs

NotesX

Harmony analysis

Sakiler – İncilerin Dökülür: key and chord analysis

The song opens on Fmaj7 and ends on Dm. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because Am is heard 13 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	6×
iii	Em	Mediant — a tonic-family shade	E · G · B	8×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	4×
IV	F	Subdominant — moves away from home	F · A · C	4×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	13×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
vii	Bm	Chromatic colour chordoutside the key	B · D · F#	4×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	13×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
ii	Bm	Chromatic colour chordoutside the key	B · D · F#	4×
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	6×
v	Em	Minor dominant — soft pull	E · G · B	8×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	4×
VI	F	Submediant — warm colour	F · A · C	4×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 39 times in total; 5 of them sit naturally inside the shared scale. Bm step outside the scale as colour chords.

Chord movement

Em Am Ciii → vi Amv → inatural-minor cadence ×4
Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×3

The move to watch is Em → Am, heard 4 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is Fmaj7; the ear learns where home is within a second. The backbone is Am, Em, Dm, Fmaj7 — vi–iii–ii–IVmaj7 from the C side, i–v–iv–VImaj7 from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. Ending on Dm, the song seals C 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.