Adamlar - Çek Sifonu - Chord

Key C major – A minor Chords Am, B, Dm, F, G, D, E, G# Easy key G (capo 5)

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Capo 0

Am   D   G   F   Am   D   E
Am
     Am      B       Dm            
Beni dinlemiyo, beni dinlemiyo 
 Am              B              Dm
İteklemiyorum ben de susuyorum hemen yarım kalıyo

Am    B    Dm            

       Am     B     Dm             
Yüzüme bakmıyoo, içimi bilmiyo 
  Am              B           Dm         
İçime ata ata yıllar yollar yalanlar midem şişiyo 

Am    B    Dm    G    F

Am          F              G     
Aklım almaz alabildiğine dolu 
              F             Am   F   G   G#
Ya beni süpür ya da çek sifonu 

Am   D   G   F   Am   D   E
Am

     Am      B       Dm            
Beni dinlemiyo, beni dinlemiyo 
 Am              B              Dm
İteklemiyorum ben de susuyorum hemen yarım kalıyo


Am    B    Dm 

      Am              B               Dm        
Hepsi kafamda kafamda kafamda bir bir birikiyo 
  Am                B           Dm          
Bir ikinin lafını etmem ama toplamda ağır geliyo 

Am    B    Dm    G    F

Am          F              G     
Aklım almaz alabildiğine dolu 
              F             Am   F   G   G#
Ya beni süpür ya da çek sifonu

End of song Play again?

Adamlar - Çek Sifonu Tabs

NotesX

Harmony analysis

Adamlar – Çek Sifonu: key and chord analysis

The song opens on Am and ends on G#. 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)
#7 = G# (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 A minor side because it opens on Am, Am is heard 22 times while C never appears and the major V chord points straight at Am. 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	12×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	4×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	2×
IV	F	Subdominant — moves away from home	F · A · C	10×
V	G	Dominant — strongest pull home	G · B · D	8×
bVI	G#	Borrowed from the parallel minorborrowed chord	G# · B# · D#	2×
vi	Am	Relative minor — the melancholy side	A · C · E	22×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
V/iii	B	Secondary dominant V/iii — leads to Emsecondary dominant	B · D# · F#	12×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	22×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
V/v	B	Secondary dominant V/v — leads to Emsecondary dominant	B · D# · F#	12×
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	12×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	4×
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	2×
VI	F	Submediant — warm colour	F · A · C	10×
VII	G	Subtonic — steps back to the tonic	G · B · D	8×
#VII	G#	Chromatic colour chordoutside the key	G# · B# · D#	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 72 times in total; 4 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am. B, D act as secondary dominants, briefly pointing at another chord of the key. G# is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Dm Am Cii → vi Amiv → iminor plagal ×10
F Am CIV → vi AmVI → iVI → i ×6
F G CIV → VIV → V AmVI → VIIVI → VII ×4
E Am CV/vi → vi AmV → iharmonic-minor cadence ×2
Dm G Cii → Vii → V Amiv → VII ×2

The move to watch is Dm → Am, heard 10 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → 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 B, land on B, D#, F# — 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.
When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
On G#, follow the chord's notes (G# · B# · D#) rather than the key's scale — it's a borrowed colour.

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

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is Am; the ear learns where home is within a second. Am, B, Dm, F carry the song: vi–V/iii–ii–IV relative to C, i–V/v–iv–VI relative to Am. B is the interesting twist: in C it is a chromatic chord (V/iii), while in Am it becomes the dominant (V/v) that makes the minor side sound so determined. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. Ending on G#, 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.