Gülben Ergen - Bu Benim Hayatım - Chord

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

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Capo 0

F#m  Bm  E  C#  F#m 

F#m                       Bm
 Bu benim hikayem benim hayatım
        E     C#        F#m
Sevdaysa sevda çıktı ok yaydan
                   Bm
İnişleriyle çıkışlarıyla
        E
Kavgaysa kavga
C#        F#m
 Hodri meydan
 
F#m  Bm  E  C#  F#m 

F#m                 Bm
 Ah be ayrılık yine mi yine mi sen
E                A        F#m
Bitirdin beni bi düş yakamdan

Hep mi bir aşk acısı
  Bm
Karadan denizden
E         C#
Elveda sevgilim
    F#m
Taşınıyorum senden

   D                  Bm
Çıktım yola ne esaslı macera
   E                   A
Burdan dönüş yok artık rastgele
D                   Bm
Topladım dağılan parçalarımı
   E                      A
Birleştiririm nasıl olsa ara ara

          F#m            Bm
Bu benim hikayem benim hayatım
        E     C#        F#m
Sevdaysa sevda çıktı ok yaydan
                   Bm
İnişleriyle çıkışlarıyla
        E
Kavgaysa kavga
C#        F#m
 Hodri meydan

Sevgilim sen bu satırları okuduğunda
Ben gitmiş olacağım
Çok demode biliyorum
Ama daha iyisini bulamadım
Mektup yazmayı da unutmuşum
Konuşmaya da cesaret edemedim
Ayrılığı yüzüme gözüme bulaştırırım diye

Lakin, kim bilir kaç hayattan hatıra
Kolye gibi boynumda taşıdığım sorgulamadan
Gövdemin bir parçası gibi alıştığım
O görünmez zincir koptu

Meğer maviymiş gökyüzü
Elbette içerde inceden bir sızı
Hep bir suçluluk duygusu
Hep bir korku
Sandığımdan zormuş kazı

Üstüme biçilen elbise
Adıma seçilmiş hayat
İyiliğim için buyurulmuş
Çivili bir taht

Dağıldılar toz gibi hafif
Ve gülümsedi aynadaki muhalif
Dedi ki: “rahat kurgu bunlar”
Biz değiliz bu uyduruk tarif

Sevgilim ben gittim beni affet
İki gözüm iki çeşme hakikaten
Ya aşk gibi aşk olacak dibine kadar
Ya bu kalp seve seve yalnızlığa talip

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Gülben Ergen - Bu Benim Hayatım Tabs

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Harmony analysis

Gülben Ergen – Bu Benim Hayatım: key and chord analysis

The song opens on F#m and ends on F#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)
#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 13 times against 3 for A 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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	3×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	10×
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#	7×
IV	D	Subdominant — moves away from home	D · F# · A	2×
V	E	Dominant — strongest pull home	E · G# · B	10×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	13×
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#	13×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	3×
iv	Bm	Subdominant — moves away from home	B · D · F#	10×
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#	7×
VI	D	Submediant — warm colour	D · F# · A	2×
VII	E	Subtonic — steps back to the tonic	E · G# · B	10×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 45 times in total; 5 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# is V/vi, a secondary dominant heading for F#m.

Chord movement

Bm E Aii → Vii → V F#miv → VII ×10
C# F#m AV/vi → vi F#mV → iharmonic-minor cadence ×7
E A AV → Iauthentic cadence F#mVII → III ×3

The move to watch is Bm → E, heard 10 times. From the F#m side it is iv → VII; from the A side it reads ii → V (ii → V: the classic preparation of the dominant). 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#m, land on F#, A, C# — 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 E, land on E, G#, B — 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

Starting on F#m, the song gives away its key from the very first bar. F#m, Bm, E, C# carry the song: vi–ii–V–V/vi relative to A, i–iv–VII–V relative to 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 Bm → E (ii → V in A, iv → VII in F#m): ii → V — the classic preparation of the dominant. Ending on F#m, the song seals F#m 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.