Adamlar - Sarılırım Birine - Chord

Key A major – F# minor Chords C#m, Bm, F#m, E, D Easy key C

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Capo 0

Bm         C#m
Gıybet çok kıymeti yok
Bm             C#m
Yarının hayali bugüne yeter mi

Bm  C#m  Bm  C#m

Bm          C#m
İçimi sıkar yoluma uzanır
D                C#m
Dünden yaralarım yarına giderdi

Bm  C#m  Bm  C#m

Bm               C#m               Bm
Sarılırım birine hatırlatır derine
C#m                 Bm   C#m              Bm  C#m
Küsmenin ne faydası var, solup gidiyor bahar
Bm                  C#m
Güzelinden biriktir öldüm derken diriltir
D                   C#m                  Bm  C#m  Bm
Seven elbet sevilir nefret işte nefret kadar
   C#m
Ve tekrar tekrar

F#m  E  F#m  E  F#m  E  D  D  F#m

F#m    E          F#m    E
Kaza kaza bakınca derininde acı var
F#m     E          D
Bilmeyince acı tam karıncanın belini
F#m         E       F#m      E
Saldırganın halinde anlayıp unutturan
F#m     E             D
Herkesin bir kaçı var kendisinden içeri

Bm  C#m  Bm  C#m

End of song Play again?

Adamlar - Sarılırım Birine Tabs

NotesX

Harmony analysis

Adamlar – Sarılırım Birine: key and chord analysis

The song opens on Bm and ends on C#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 F#m is heard 10 times while A never appears. 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	—
ii	Bm	Supertonic — prepares the dominant	B · D · F#	16×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	18×
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	6×
V	E	Dominant — strongest pull home	E · G# · B	9×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	10×
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#	10×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
iv	Bm	Subdominant — moves away from home	B · D · F#	16×
v	C#m	Minor dominant — soft pull	C# · E · G#	18×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	6×
VII	E	Subtonic — steps back to the tonic	E · G# · B	9×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 59 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×6
D F#m AIV → vi F#mVI → iVI → i ×2
C#m F#m Aiii → vi F#mv → inatural-minor cadence ×1

The move to watch is E → F#m, heard 6 times. From the F#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the A side it reads V → vi (deceptive cadence: expected A, lands on F#m). 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 C#m, land on C#, E, G# — 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.
Over F#m, land on F#, A, C# — 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
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The first chord is Bm; the ear learns where home is within a second. The chords that keep coming back are C#m, Bm, F#m, E; read them as iii–ii–vi–V in A or v–iv–i–VII in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → F#m (V → vi in A, VII → i in F#m): Aeolian arrival — rises a whole tone into home. Ending on C#m, 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.