Teoman - Çoktandır - Chord

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

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Capo 0

F#m    A          C#m
Çoktandır, yaşıyormuş gibi
        A          E     F   F#m
Yapıyordum demek ben bu şehirde  
      A           C#m
Çoktandır iki yabancı gibi
      A           E      F   F#m
Yaşıyorduk demek biz bu şehirde  

D   E    D   E   D           E      F  F#m
Ben de, ben de, belki yaşar belki ölürüm

F#m    A           C#m
Çoktandır, eriyorsa eğer
          A          E     F    F#m
Silinirmiş meğer büyükte olsa aşk
      A          C#m
Çoktandır kanıyormuş meğer
        A           E      F   F#m
Çalışırdım inan farketseydim eğer 

D   E    D   E   D           E      F  F#m
Ben de, ben de, belki yaşar belki ölürüm

D            E          D      E
Süresi hiç belli olmaz yok ki zamanı
D           E            D       E
Yarası zor geçer derler yok ki ilacı
D                 E          F#m
İnsan bazen yaşar bazen de ölür

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Teoman - Çoktandır Tabs

NotesX

Harmony analysis

Teoman – Çoktandır: key and chord analysis

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

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)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F# minor side because it both starts and finishes on F#m and F#m is heard 9 times against 8 for A. 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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	8×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	4×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	11×
V	E	Dominant — strongest pull home	E · G# · B	15×
bVI	F	Borrowed from the parallel minorborrowed chord	F · A · C	6×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	9×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
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	8×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
v	C#m	Minor dominant — soft pull	C# · E · G#	4×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	11×
VII	E	Subtonic — steps back to the tonic	E · G# · B	15×
#VII	F	Chromatic colour chordoutside the key	F · A · C	6×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 53 times in total; 5 of them sit naturally inside the shared scale. F is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

D E AIV → VIV → V F#mVI → VIIVI → VII ×11
E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×1

The move to watch is D → E, heard 11 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 D, land on D, F#, A — 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.
On F, follow the chord's notes (F · A · C) 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 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

2 semitones down · capo 2 keeps the original pitch
3 semitones up

The song's harmonic story

The first chord is F#m; the ear learns where home is within a second. The backbone is E, D, F#m, A — V–IV–vi–I from the A side, VII–VI–i–III from the F#m side. F briefly darkens the picture: borrowed from the parallel minor. 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. It closes on F#m, letting the F#m 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.