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)
Son Feci Bisiklet - Modern Zamanlar - Chord
Key A major – F# minor Chords D, E, Bm, F#, A, C#, G# Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
D E D
Son gelince aklına
E Bm F#
Bir de baktı ki etrafına
C#
Düşündü
D E D
Debelenip durdu endişesinde
E Bm F#
Kendini gördü parfüm şişesinde
C#
Düşündü
D E D
Belki modern zamanlar onun içindir
E Bm F#
İlkel olmak bir seçim değildir
C#
Diye
D E F#
Bundan sonra çıkmaz karşına
Bm A
Hayır oralara gitmeyecek
Bm A
Gitse de sizle aynı şeyi içmeyecek
Bm A
Belki canı fazla isteyecek
G#
Ama sevmeden sevişmeyecek
Bm A
Siz yine de ona kanmayın
Bm A
Neye karşı olduğunu bildiğini sanmayın
Bm A
Belki en güçlü hissettiği yaş
G#
Ama kazanmayı umduğu savaş
D E
Çoktan bitmiş ve herkes kaybetmiş
D E
Herkes kaybetmiş
D E
Bilmez o bu olay ne zaman başladı
D E Bm F#
Ama o hep zamanı suçladı
C#
Değişti diye
D E
Zaman onu ne gördü ne umursadı
D E Bm F#
Ne de var olduğunu kanıtladı
C#
Durdu öylece
D E F#
Bundan sonra çıkmaz karşına
D E F#
Bundan sonra o tek başına
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Son Feci Bisiklet - Modern Zamanlar Tabs
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Harmony analysis
Son Feci Bisiklet – Modern Zamanlar: key and chord analysis
The song opens on D and ends on F#. 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: we can't honestly pick a side here — the song moves freely between A major and F# minor because A is heard 6 times while F#m never appears and the major V chord points straight at F#m. 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 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 | 6× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 11× |
| 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# | 5× |
| IV | D | Subdominant — moves away from home | D · F# · A | 15× |
| V | E | Dominant — strongest pull home | E · G# · B | 15× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| V/ii | F# | Secondary dominant V/ii — leads to Bmsecondary dominant | F# · A# · C# | 8× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| V/iii | G# | Secondary dominant V/iii — leads to C#msecondary dominant | G# · B# · D# | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| V/iv | F# | Secondary dominant V/iv — leads to Bmsecondary dominant | F# · A# · C# | 8× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| V/v | G# | Secondary dominant V/v — leads to C#msecondary dominant | G# · B# · D# | 2× |
| III | A | Relative major — the bright side | A · C# · E | 6× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 11× |
| 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# | 5× |
| VI | D | Submediant — warm colour | D · F# · A | 15× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 15× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 62 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. F#, G# act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- D E AIV → VIV → V F#mVI → VIIVI → VII ×15
The move to watch is D → E, heard 15 times. From the A side it reads IV → V (IV → V: the lift that builds tension before home); from the F#m side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The first chord is D; the ear learns where home is within a second. The chords that keep coming back are D, E, Bm, F#; read them as IV–V–ii–V/ii in A or VI–VII–iv–V/iv in F#m. F# is the interesting twist: in A it is a chromatic chord (V/ii), while in F#m it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on D → E (IV → V in A, VI → VII in F#m): IV → V — the lift that builds tension before home. The final chord is F#; the ear comes to rest in A.
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.
Son Feci Bisiklet - Modern Zamanlar 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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