Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Adamlar - Doldum - Chord
Key F major – D minor Chords Dm, C, A, Em, Bb, Eb Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Dm A Dm A
Dm Dm Em
Dm A Dm A
Dm Dm Em
Dm A Dm A
Dm C Dm C
Dm C
İç içeyiz ama bir arada gibi değil
Dm C
Varlığımız kiralanır yalanlara bizim
Dm C
Yol bulan kendinin sahibi sanınca
Dm C
Başımıza gelenler taşlar bir ömürlük dizi
Dm C
Sızlayan nehirler başım bi de eşim
Dm C
Yoruldum paşam belki ondan gidişim
Dm C
Helal olsun hepimize kızdığımdan demiyorum
Dm C
Üzüldüğüm tek şey biri iki edişim
Eb Bb A
Ayrılığı duyduğum sabahlar ve gecelerde
Eb Bb A
Duvara dönüp yüzümü çatlağın izine doğru
Eb Bb A
Ölü numaralar akışı zigzag çölde başa taş oturur
Bb A
Parçalanmış vaadleri, tepetaklak saatlerin
Dm A
Doldum da kadehi doldurdum, doldurdum
Dm A
Önümdeki gülü soldurdum
Dm
Sızlarım sızıma nağmeler
Em A
Dostlarım kışıma renk veren
Dm A
Koştum durdum izler peşinde
Dm A
Alemler alem içinde içinde
Dm A
Hallerim hareketin içinde
Dm
Kalabalıkta sallanır oltalar
Em A
Aklımda bi tahterevalli var
Dm A
Yangınla yağmur peşi peşine
Dm C
Boyuna akşam, enine geceler
Dm C
Bi yakamoza bak, bi aklının içine
Dm C
Kovala balığı bu acele niye
Dm C
Bi an var, hep burada ama kapıdan geçemem
Dm C
Çile kuşu sırtına binmiş uçuyoz
Dm C
Aşk ateşiyle orman yangını elele
Dm C
Yeryüzüne nasır olup, gökyüzünden medet umuyoz
Dm C
Artık kazma kuyu hakkını ver elindekiyle
Dm C
Boşluğunsa sürümü nesillerce kaynadı
Dm C
Gördüler mi gördün mü sorardım bi bilene de
Dm C
Sıkıldım cevabından şehirlerin deliliği
Dm C
Su kaynatır beyinleri tahterevalli için boyuna
Dm C
Saatler yarışın alarmı
Dm C
Maratonun sonu bataklık
Dm C
Zengini sinsi, mazlumu hırslı, yakınımız oldu karanlık
Dm C
Bahar olaydı çatıda yataydık
End of song Play again?
Adamlar - Doldum Tabs
NotesX
Harmony analysis
Adamlar – Doldum: key and chord analysis
The song opens on Dm and ends on C. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (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 D minor side because it opens on Dm, Dm is heard 44 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 18× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 4× |
| V | C | Dominant — strongest pull home | C · E · G | 26× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 44× |
| bVII | Eb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Eb · G · Bb | 3× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 44× |
| bII | Eb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Eb · G · Bb | 3× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 4× |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 18× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 4× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 26× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 99 times in total; 3 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. Eb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×24
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×15
The move to watch is C → Dm, heard 24 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on Dm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
- On Eb, follow the chord's notes (Eb · G · Bb) 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, C, A, Em; read them as vi–V–V/vi–vii in F or i–VII–V–ii in Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. It closes on C, letting the F 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.
Adamlar - Doldum 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.