Adamlar - Kendime Çaylar - Chord

Key F major – D minor Chords E, Dm, Am, B7, A, F, Cm, Bm Difficulty already in its easiest key

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Capo 0

Dm        B7
Su serin bana derin
E              A
Sen gir ben beklerim
Dm            B7
Duvar sessiz ben de öyle
E           A
Bildiğini bana söyle

Dm                      B7
Aynı yere milyon kere damladım
E                     A
Zor oldu kusur dolu azalmaya meyilli
Dm                 B7
Hepsini izledim ve hiç konuşmadım
E                    A
Yorulmuştum rüzgara atladım

Am   E

F       Am            Dm    Am
Dışarda çok ses var içerde uzay
Cm       Bm      Am    E
Kendime çaylar demliyorum
F        Am       Dm       Am
Arkada kaldı gördüğüm hikayeler
Cm      Bm             Am      E
Çiçek asfalttan çıkar, yüzüm güler

Dm                  B7
En az gerçek kadar yalancıyım
E                  A
Sen hava al burda kalıcıyım
Dm                         B7
Büyük bir gaf nedir gölün altında
E                   A
Bak yuvarlak güneş, ay yarım

End of song Play again?

Adamlar - Kendime Çaylar Tabs

NotesX

Harmony analysis

Adamlar – Kendime Çaylar: key and chord analysis

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

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it opens on Dm, Dm is heard 8 times against 2 for F and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	2×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	7×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	6×
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
#IV7	B7	Chromatic colour chordoutside the key	B · D# · F# · A	6×
#iv	Bm	Chromatic colour chordoutside the key	B · D · F#	2×
V	C	Dominant — strongest pull home	C · E · G	—
v	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×
vi	Dm	Relative minor — the melancholy side	D · F · A	8×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—
V/iii	E	Secondary dominant V/iii — leads to Amsecondary dominant	E · G# · B	9×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	8×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
V/v	E	Secondary dominant V/v — leads to Amsecondary dominant	E · G# · B	9×
III	F	Relative major — the bright side	F · A · C	2×
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
v	Am	Minor dominant — soft pull	A · C · E	7×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	6×
VI	Bb	Submediant — warm colour	Bb · D · F	—
#VI7	B7	Chromatic colour chordoutside the key	B · D# · F# · A	6×
#vi	Bm	Chromatic colour chordoutside the key	B · D · F#	2×
VII	C	Subtonic — steps back to the tonic	C · E · G	—
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 8 different chords appear 42 times in total; 3 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. E acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

B7 E F#IV7 → V/iiisecondary resolution Dm#VI7 → V/v ×6
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×4
Am Dm Fiii → vi Dmv → inatural-minor cadence ×2

The move to watch is B7 → E, heard 6 times. From the Dm side it is #VI7 → V/v; from the F side it reads #IV7 → V/iii (secondary resolution: B7 resolves a fourth up to E). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over E, 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.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.

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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am 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 Dm; the ear learns where home is within a second. The chords that keep coming back are E, Dm, Am, B7; read them as V/iii–vi–iii–#IV7 in F or V/v–i–v–#VI7 in Dm. E is the interesting twist: in F it is a chromatic chord (V/iii), while in Dm it becomes the dominant (V/v) that makes the minor side sound so determined. Keep an ear on B7 → E (#IV7 → V/iii in F, #VI7 → V/v in Dm): secondary resolution — B7 resolves a fourth up to E. It closes on A, letting the F side have the last word.

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.