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)
Bininci Tekil - Eski Sevgiliyle Yeni Karşılaşma - Chord
Key A major – F# minor Chords F#m7, Bm7, D, C#, Bm, C#7, B, Ebm7b5 Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m7 Bm7
Yıllar geçmiş
D
O biraz kilo vermiş
C# F#m7
Ama hala güzel gülüyor
Bm7
Nasıl oluyorsa
D
Bütün yelkenlerim
C# F#m7
Suya iniyor
Bm7
Onlar inedursun
D C# F#m7
Bütün konuşmalar sadece kafamda duyulsun
Bm7
Ben mutluyum
D C#
Herşeye rağmen
F#m7 Bm7
Yıllar geçmiş
D
Saçlarının rengi değişmiş
C# F#m7
Ama hala güzel kokuyor
Bm7
Nasıl oluyorsa
D
Bütün düşüncelerim
C# F#m7
Tersine dönüyor
Bm7
Onlar dönedursun
D C# F#m7
Bütün konuşmalar sadece kafamda duyulsun
Bm7
Ben mutluyum
D C#
Herşeye rağmen
Bm C#7
Rüyamda görsem inanmazdım
Deseler
F#m7 Bm7
O öylece duracak
B
Sen susacaksın
Bm C#7
Hayali bile kuramazdım
Deseler
F#m7 Bm7 Ebm7b5
O yanına yatacak sen duracaksın
Bm C#7
Ama yine de mutluyum
F#m7
Herşeye rağmen
End of song Play again?
Bininci Tekil - Eski Sevgiliyle Yeni Karşılaşma Tabs
NotesX
Harmony analysis
Bininci Tekil – Eski Sevgiliyle Yeni Karşılaşma: key and chord analysis
The song opens on F#m7 and ends on F#m7. 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: to us the song feels closer to the F# minor side because it both starts and finishes on F#m, F#m is heard 11 times while A never appears and the major V chord points straight at F#m. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | — |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 10× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 3× |
| II | B | Chromatic colour chordoutside the key | B · D# · F# | 1× |
| 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# | 8× |
| V7/vi | C#7 | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# · B | 3× |
| IV | D | Subdominant — moves away from home | D · F# · A | 8× |
| #ivø7 | Ebm7b5 | Chromatic colour chordoutside the key | Eb · Gb · A · Db | 1× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi7 | F#m7 | Relative minor — the melancholy side | F# · A · C# · E | 11× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | F#m7 | Tonic — home | F# · A · C# · E | 11× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 10× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 3× |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# | 1× |
| 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# | 8× |
| V7 | C#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# · B | 3× |
| VI | D | Submediant — warm colour | D · F# · A | 8× |
| #viø7 | Ebm7b5 | Chromatic colour chordoutside the key | Eb · Gb · A · Db | 1× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 8 different chords appear 45 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# / C#7 is V/vi, a secondary dominant heading for F#m. B, Ebm7b5 step outside the scale as colour chords.
Chord movement
- C# F#m7 AV/vi → vi7 F#mV → i7harmonic-minor cadence ×7
- C#7 F#m7 AV7/vi → vi7secondary resolution F#mV7 → i7harmonic-minor cadence ×3
- Bm C#7 Aii → V7/vi F#miv → V7iv → V ×3
The move to watch is C# → F#m7, heard 7 times. From the F#m side it is V → i7 (harmonic-minor cadence: the major V resolves dramatically); from the A side it reads V/vi → vi7. 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 F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening F#m7 lays a solid floor for everything that follows. The chords that keep coming back are F#m7, Bm7, D, C#; read them as vi7–ii7–IV–V/vi in A or i7–iv7–VI–V in F#m. C# is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C# → F#m7 (V/vi → vi7 in A, V → i7 in F#m): harmonic-minor cadence — the major V resolves dramatically. The final chord is F#m7; the ear comes to rest in F#m.
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.
Bininci Tekil - Eski Sevgiliyle Yeni Karşılaşma 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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