Adamlar - Hem İlaç Hem De Zehir - Chord

Key D major – B minor Chords F#, G, A, D, Bm, E, Em Easy key C (capo 2)

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Capo 0

D         A
Söz asılı havada
G              F#
İster al ister devam et
D           A
Ben kırmayı istemem de
G           F#
Kırdırır beni bana
Em          F#
Kırdırır beni bana

D            A
Mazur görsem kendimi 
     G             F#
Dört mevsim var içerimde
D           A
İç dış sur biçiminde
G          F#
Ararım bulur muyum
Em         F#
Ararım bulur muyum

Bm          E
Benden yana ses verir 
Bm           E
Hem ilaç hem de zehir
F#            G
Bi maviyim bi kırmızı
  A          G
Sarılara yarınlara

Bm            E
Dayandığım rekorlara
Bm           E
Uzun boylu oyunlara
F#          G
İçim kaçar bi göklere 
  A          G
Gönüllere hatunlara

D                 A
Hatırladığım eski yazlarda
G                  F#
Kumyana bi kız yürür uykumda
D               A
Çocukluğum sanki hala 
G               F#
Pencereden parkı izliyo
Em             F#
İçimde bi yer sızlıyor

D              A
Mazur görsen de beni 
G                F#
Sevdim de cümlem yetmedi
D          A
Onunla bu uymadı
G           F#
Gerisi rüyalarda
Em          F#
Hapsedilmez zamana

Em   F#   G   F#

Ne kadar kazarsan kaz           
Kendi çemberinde bi noktasın
Sonbahar yada yaz
Geçicek biliyosun 
Her adı konulmuş beklenen gibi 
İlerliyo ve yine dardasın
Kendi mecrasında aralık sevdasında
Sanki bi tabanca var kalbimde 
Duyduk izleme koynunda
Bilerek kullanıyosun

Bm          E
Benden yana ses verir 
Bm           E
Hem ilaç hem de zehir
F#            G
Bi maviyim bi kırmızı
  A          G
Sarılara yarınlara

Bm            E
Dayandığım rekorlara
Bm           E
Uzun boylu oyunlara
F#          G
İçim kaçar bi göklere 
  A          G
Gönüllere hatunlara

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Adamlar - Hem İlaç Hem De Zehir Tabs

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Harmony analysis

Adamlar – Hem İlaç Hem De Zehir: key and chord analysis

The song opens on D and ends on G. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C# (leading tone, pulls home)
4 = G (the note that leans on the 3rd)

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between D major and B minor because it opens on D and the major V chord points straight at Bm. 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 D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	8×
ii	Em	Supertonic — prepares the dominant	E · G · B	5×
V/V	E	Secondary dominant V/V — leads to Asecondary dominant	E · G# · B	8×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	18×
IV	G	Subdominant — moves away from home	G · B · D	17×
V	A	Dominant — strongest pull home	A · C# · E	12×
vi	Bm	Relative minor — the melancholy side	B · D · F#	8×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	8×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	8×
iv	Em	Subdominant — moves away from home	E · G · B	5×
IV	E	Major IV — Dorian / melodic-minor colourmodal colour	E · G# · B	8×
v	F#m	Minor dominant — soft pull	F# · A · C#	—
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	18×
VI	G	Submediant — warm colour	G · B · D	17×
VII	A	Subtonic — steps back to the tonic	A · C# · E	12×

Analysis

The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 76 times in total; 5 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F# is V/vi, a secondary dominant heading for Bm. E acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Em F# Dii → V/vi Bmiv → Viv → V ×5
G A DIV → VIV → V BmVI → VIIVI → VII ×4
F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×2
G Bm DIV → vi BmVI → iVI → i ×2
G D DIV → Iplagal cadence BmVI → III ×1

The move to watch is Em → F#, heard 5 times. From the D side it reads ii → V/vi; from the Bm side it is iv → V (iv → V: the minor side's tension builder). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The first chord is D; the ear learns where home is within a second. The backbone is F#, G, A, D — V/vi–IV–V–I from the D side, V–VI–VII–III from the Bm side. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Em → F# (ii → V/vi in D, iv → V in Bm): iv → V — the minor side's tension builder. It closes on G, letting the D 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.