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)
Model - Sen Ona Aşıksın - Chord
Key F major – D minor Chords Dm, F, Bb, A, Em7b5, Gm, C, A7 … Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm A7 F Bb A Dm Dm Demek bugün yeni bir hikayeye başlıyorsun Bb Dilerim bunun sonu bizimkinden mutlu olsun Dm Çok şey unutturması gerekiyor şimdi sana Bb İşi de biraz benden sonra aslında Gm Şarkınız falan olacak, yeni bir diziye başlanacak Dm Em7b5 Dm Tatiller planlanacak, fotoğraflar konulacak Gm C F Bb Neeyse seni çok seviyormuş ne tatlı Em7b5 A Ona de her şeyim demişsin bana ne kaldı Dm C Sen ona aşıksın, sen ona aşıksın F A Sen ona aşıksın, tek bir söz söyleme boşver Dm C Sen ona aşıksın, sen ona aşıksın F A Sen ona aşıksın, öyle güzel gülme yeter Gm Dm Sen ona aşıksın, sen ona aşıksın F A Sen ona aşıksın, böyle bitecekmiş meğer Dm Çok şey öğreneceği senin hakkında Bb Kahveyi şekersiz sütlü seversin mesela Dm Saçınla oynayınca hemen uyursun Bb Sebze yemezsin, içince çok konuşursun Gm Umarım onu annene sevdirmeyi becerirsin Dm Em7b5 Dm Çünkü kendisi benden hazetmezdi bilirsin Gm C F Bb Neeyse biz de taktık o yüzükleri Em7b5 A Ona da verme tutamayacağın sözleri Dm Em7b5 Gm F Em7b5 A7 Ne pişman, ne düşman, ne de kahraman olmaya değer Dm Em7b5 Ebmaj7 A Savaşmam, yarışmam, kalbim onunla çarpıyorsa eğer
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Model - Sen Ona Aşıksın Tabs
NotesX
Harmony analysis
Model – Sen Ona Aşıksın: key and chord analysis
The song opens on Dm and ends on A. 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 15 times against 7 for F 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 | 7× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 6× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 7× |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 2× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 7× |
| V | C | Dominant — strongest pull home | C · E · G | 4× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 15× |
| bVIImaj7 | Ebmaj7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Eb · G · Bb · D | 1× |
| viiø7 | Em7b5 | Leading-tone chord — tension | E · G · Bb · D | 7× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 15× |
| bIImaj7 | Ebmaj7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Eb · G · Bb · D | 1× |
| iiø7 | Em7b5 | Supertonic — prepares the dominant | E · G · Bb · D | 7× |
| III | F | Relative major — the bright side | F · A · C | 7× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 6× |
| 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 | 7× |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 2× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 7× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 4× |
Analysis
The key pair is F major and its relative D minor (1 flat). 9 different chords appear 56 times in total; 6 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 / A7 is V/vi, a secondary dominant heading for Dm. Ebmaj7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×5
- C F FV → Iauthentic cadence DmVII → III ×4
- Gm Dm Fii → vi Dmiv → iminor plagal ×3
- Bb Dm FIV → vi DmVI → iVI → i ×2
- Gm C Fii → Vii → V Dmiv → VII ×2
- Em7b5 A Fviiø7 → V/vi Dmiiø7 → Vii° → V ×2
The move to watch is A → Dm, heard 5 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → vi. 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- When A7 comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
- On Ebmaj7, follow the chord's notes (Eb · G · Bb · D) 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, F, Bb, A; read them as vi–I–IV–V/vi in F or i–III–VI–V 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 A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. Ending on A, the song seals F 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.
Model - Sen Ona Aşıksın 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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