Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Sagopa Kajmer - Bu Sen Değilsin (Faruk Sabancı) - Chord
Key Ab major – F minor Chords Fm, Bbm, Cm, Dbmaj7, Db Easy key C
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Key: Ab | Fm
Capo: 0
Fm Dbmaj7 Bbm Cm
Fm Dbmaj7 Bbm Cm
Karşıma almışım dünyamı, boğuşuyorum onunla
Fm Dbmaj7 Bbm Cm
Kol kola girmiş ihanetler önümden geçiyor
Fm Dbmaj7 Bbm Cm
Bileklerimi sıkıyor parmaklar, tırnaklar batıyor
Fm Dbmaj7 Bbm Cm
Üstüme düşüyor sağnaklar, şansıma kalbim halen atıyor
Fm Dbmaj7 Bbm Cm
Bekle ki çıksın dökülsün dilinden dökülmesi gerekenler bekle
Fm Dbmaj7 Bbm Cm
Eksik kaldı yarımdan fazlası kaldım kalabalık ortası yek de
Fm Dbmaj7 Bbm
Gücümü toplamalıyım ancak gücümü bulamıyorum ben de
Cm
Bir ölüyü taşıyorum üstümde sanki
Fm Dbmaj7 Bbm
Gücümü toplamalıyım ancak gücümü bulamıyorum bende
Cm
Ölümü taşıyorum üstümde sanki
Fm Dbmaj7 Bbm Cm
Vakit dolmadan çok geç olmadan, gideyim buralardan
Fm Db Bbm Cm
Vakit dolmadan, güneşim batmadan gözüm dolmadan gideyim buralardan
Fm Dbmaj7 Bbm
Gücümü toplamalıyım ancak gücümü bulamıyorum ben de
Cm
Bir ölüyü taşıyorum üstümde sanki
Fm Dbmaj7 Bbm
Gücümü toplamalıyım ancak gücümü bulamıyorum bende
Cm
Ölümü taşıyorum üstümde sanki
Fm
Hissettiklerim nаsıl bilir misin
Dbmaj7
Biliyorum desen bile bildiğinden emin misin
Bbm Cm
Hissettiklerimi hissedebilir misin
Fm
O yoldаn geçmeden, tаrif edebilir misin
Dbmaj7
Beni kırmаktаn yа dа benden vаzgeçebilir misin
Bbm Cm
Kаhretsin, bu sen değilsin
Fm Dbmaj7 Bbm Cm
Vakit dolmadan çok geç olmadan, gideyim buralardan
Fm Db Bbm Cm
Vakit dolmadan, güneşim batmadan gözüm dolmadan gideyim buralardan
End of song Play again?
Sagopa Kajmer - Bu Sen Değilsin (Faruk Sabancı) Tabs
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Harmony analysis
Sagopa Kajmer – Bu Sen Değilsin (Faruk Sabancı): key and chord analysis
The song opens on Fm and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it opens on Fm and Fm is heard 17 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 17× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 17× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 15× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 2× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 17× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 17× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 17× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 17× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 15× |
| VI | Db | Submediant — warm colour | Db · F · Ab | 2× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 68 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
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×16
The move to watch is Cm → Fm, heard 16 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. The backbone is Fm, Bbm, Cm, Dbmaj7 — vi–ii–iii–IVmaj7 from the Ab side, i–iv–v–VImaj7 from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. It closes on Cm, letting the Ab 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.
Sagopa Kajmer - Bu Sen Değilsin (Faruk Sabancı) 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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Lyrics: Sagopa Kajmer (Yunus Özyavuz)Music: Faruk Sabancı
Sagopa Kajmer (Yunus Özyavuz)Arrangement: Faruk Sabancı
Sagopa Kajmer (Yunus Özyavuz)Arrangement: Faruk Sabancı
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