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)
Cem Adrian - Nereye Gidiyorsun - Chord
Key A major – F# minor Chords E, F#m, D, C#, A, B Easy key C
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Key: A | Gbm | F#m
Capo: 0
Çocuk...
Sil yüzünden tüm yalanlarını bu şehrin,
Topla kalbini cadde cadde, sokak sokak...
Kazı ayak izlerini birer birer kıyı kaldırımlarından.
Bakma yüzlerine hiç, görme onları...
Çocuk, Bu kez ağlama... Bu kez Git...
F#m E
Gölgeni, ismini sil yavaş yavaş
D E
Giderken bu kentten tükür yüzüne, yalnızlığımın
F#m E
Kalbini, kendini sök yavaş yavaş
D E C#
Git derken bu kentten sakın ağlama, sus
F#m E
Unut ne yaptı sana, unut ne söyledi
D C#
Unut ne varsa vazgeçtiğin
F#m E
Yüzümde korkularla, içimde çığlıklarla,
D E
Kalbimde simsiyahlar, nereye gidiyorsun
C# F#m E
Hep bu şarkılarla, kıymetsiz dualarla
D E
Utanmaz bir yağmurla, nereye gidiyorsun
F#m E
Yolları, duvarları geç yavaş yavaş
D E C#
Giderken bu kentten bir hiç gibi bırak yalnızlığını
F#m E
Ve o siyah saçlarını kes yavaş yavaş
D E C#
Giderken, terk ederken savur yüzüne yalnızlığının
F#m E
Ve unut ne yaptı sana, unut neler anlattı
D C#
Unut ne varsa vazgeçtiğin
A B
F#m E
Bu sahte baharlarla, kıymetsiz dualarla
D E
Utanmaz bir yağmurla, yine mi gidiyorsun
Giderken, terk ederken savur yüzüne yalnızlığının...
Ve unut ne yaptı sana!
Unut neler anlattı!
Unut ne varsa vazgeçtiğin!
Yüzünde korkularla…
İçinde çığlıklarla...
Kalbinde simsiyahlar...
Nereye gidiyorsun?
Hep bu şarkılarla...
Kıymetsiz dualarla...
Utanmaz bir yağmurla...
Nereye gidiyorsun?
Yüzümde korkularla...
İçimde çığlıklarla...
Kalbimde simsiyahlar...
Nereye gidiyorsun?
Bu sahte baharlarla,
Kıymetsiz dualarla...
Utanmaz bir yağmurla...
Yine mi gidiyorsun?
Çocuk...
Her vedanın ardında bir bekleyeni vardır kimsenin bilmediği...
Ve her gözyaşının altında bir dua kimsenin duymadığı...
Çevir gökyüzüne başını...
Bakma arkana!
Daha sert basa basa, daha güçlü!
Anlat bu kara şehrin yollarına ak adımlarınla!
Gitmek yenilmek değil kazanmak da!
Gitmek gitmektir işte...
Hepsi bu...
End of song Play again?
Cem Adrian - Nereye Gidiyorsun Tabs
NotesX
Harmony analysis
Cem Adrian – Nereye Gidiyorsun: key and chord analysis
The song opens on F#m and ends on E. 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)
- #7 = E# (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 F# minor side because it opens on F#m, F#m is heard 9 times against 1 for A and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 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 | 1× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| V/V | B | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# | 1× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | 6× |
| IV | D | Subdominant — moves away from home | D · F# · A | 9× |
| V | E | Dominant — strongest pull home | E · G# · B | 16× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 9× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 9× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 1× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# | 1× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | 6× |
| VI | D | Submediant — warm colour | D · F# · A | 9× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 16× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 42 times in total; 4 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C# is V/vi, a secondary dominant heading for F#m. B acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- D E AIV → VIV → V F#mVI → VIIVI → VII ×7
- C# F#m AV/vi → vi F#mV → iharmonic-minor cadence ×5
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×2
The move to watch is D → E, heard 7 times. From the F#m side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the A side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- When C# comes, swap the scale's E for E#: 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 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
Starting on F#m, the song gives away its key from the very first bar. E, F#m, D, C# carry the song: V–vi–IV–V/vi relative to A, VII–i–VI–V relative to F#m. C# is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → E (IV → V in A, VI → VII in F#m): VI → VII — the rising step that heads for the tonic. Ending on E, 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.
Cem Adrian - Nereye Gidiyorsun 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.
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Lyrics: Cem Adrian Music: Cem Adrian
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