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 - Sıkıntı Var - Chord
Key A major – F# minor Chords A, E, C#m, Ab, F#m, B, F# Easy key C
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Key: A | Gbm | F#m
Capo: 0
E F#m
Okul bahçesinde gel dedi bana gelsene bi yanıma
A E
Bi sıkıntı var
E F#m
Kuşların hepsi sessiz biri onları akort ediyordu şüphesiz
A E
Son bir şarkı için
A E
Bize hiç sormadılar ki be
A E B A E
Dünyaya gelmek istiyor muyuz diye diye diye
E
Pek gülmezdi yüzüm
F#m
Hayvanların da hissettiğini bildiğim kadim hüzün
A E
Gömleğime sinerdi
A E
Bize hiç sormadılar ki lan
A E B A E
Dünyaya gelmek istiyor muyuz falan falan
C#m A Ab
İçimde, içimde, içimde
C#m A Ab
Bi sıkıntı var, sıkıntı var, sıkıntı var
C#m A Ab
Ben uyumadan bi yere gitme
C#m A Ab
Ben uyumadan bi yere gitme
E
Tanımadığı bi yoldu
F#m
Dönüp dolaşıp içerde bir yerde kayboldu
A E
Ölü bulundu
E
Ağzı kulaklarda
F#m
Yaprakları yerde ve kökleri havada,
A E
Sonbaharında
A C#m B E
A E F# Ab
C#m A Ab
İçimde, içimde, içimde
C#m A Ab
Bi sıkıntı var, sıkıntı var, sıkıntı var
C#m A Ab
Ben uyumadan
C#m A Ab
Bi yere gitme
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Son Feci Bisiklet - Sıkıntı Var Tabs
NotesX
Harmony analysis
Son Feci Bisiklet – Sıkıntı Var: key and chord analysis
The song opens on E and ends on Ab. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A major side because A is heard 21 times against 5 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.
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 | 21× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| V/V | B | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# | 3× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 9× |
| 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 | — |
| V | E | Dominant — strongest pull home | E · G# · B | 18× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 5× |
| V/ii | F# | Secondary dominant V/ii — leads to Bmsecondary dominant | F# · A# · C# | 1× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| V/iii | Ab | Secondary dominant V/iii — leads to C#msecondary dominant | Ab · C · Eb | 9× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 5× |
| V/iv | F# | Secondary dominant V/iv — leads to Bmsecondary dominant | F# · A# · C# | 1× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| V/v | Ab | Secondary dominant V/v — leads to C#msecondary dominant | Ab · C · Eb | 9× |
| III | A | Relative major — the bright side | A · C# · E | 21× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# | 3× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 9× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | — |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 18× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 66 times in total; 4 of them sit naturally inside the shared scale. Ab, B, F# act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- E A AV → Iauthentic cadence F#mVII → III ×6
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×5
The move to watch is E → A, heard 6 times. From the A side it reads V → I (authentic cadence: the strongest arrival home); from the F#m side it is VII → III. 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 A, land on A, C#, E — 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 C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
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
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The opening E lays a solid floor for everything that follows. The chords that keep coming back are A, E, C#m, Ab; read them as I–V–iii–V/iii in A or III–VII–v–V/v in F#m. Ab adds a moment of surprise: secondary dominant V/iii — leads to C#m. Keep an ear on E → A (V → I in A, VII → III in F#m): authentic cadence — the strongest arrival home. Ending on Ab, 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.
Son Feci Bisiklet - Sıkıntı Var 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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