Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Sibel Alaş - Adam - Chord
Key C major – A minor Chords Am, E, F, G, Dm, C, E7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
C E7 Am Durup da söyleyemediğin adımsa E Gizli kapaklı C E7 Am Sevda türküleri tuttursam da ben E Telli duvaklı F G Yanıma korlar mı adam seni F G Koparıp acıtmazlar mı beni F G Nafile yanar elim dudağım E Seni bana yar ederler mi Am Dm Yağmur bulutu unutursa Am Dm Dalında çiçeği kurutursa Am Dm Yar benden utanırsa F E Düşündüm düşümden ayrı kaldım
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Sibel Alaş - Adam Tabs
NotesX
Harmony analysis
Sibel Alaş – Adam: key and chord analysis
The song opens on C and ends on E. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
- #7 = G# (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 A minor side because it opens on C, Am is heard 5 times against 2 for C and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | 2× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 3× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 4× |
| V7/vi | E7 | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B · D | 2× |
| IV | F | Subdominant — moves away from home | F · A · C | 4× |
| V | G | Dominant — strongest pull home | G · B · D | 3× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 5× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 5× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 2× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 3× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 4× |
| V7 | E7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B · D | 2× |
| VI | F | Submediant — warm colour | F · A · C | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 3× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 23 times in total; 5 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E / E7 is V/vi, a secondary dominant heading for Am.
Chord movement
- F G CIV → VIV → V AmVI → VIIVI → VII ×3
- E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×2
- Dm Am Cii → vi Amiv → iminor plagal ×2
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×1
The move to watch is F → G, heard 3 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C 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
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Am, 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
- When E7 comes, swap the scale's G for G#: 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is C; the ear learns where home is within a second. The backbone is Am, E, F, G — vi–V/vi–IV–V from the C side, i–V–VI–VII from the Am side. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. It closes on E, letting the C 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.
Sibel Alaş - Adam 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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