348 - Bana Sen Lazımsın - Chord

Key E major – C# minor Chords B, A, C#m, C#m7, Ab7, Ab, A7, B7 … Easy key G

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Capo 0

A  B  C#m  

C#m7         B
Kurduğum bir hayalde
Ab7
Dinlediğim melodide
C#m7      B
Seninle tanımadığım
Ab7
Bilmediğim bir şehirde
C#m7     B
Kimseler yokmuşçasına
Ab7
Öpüştüğümüz caddelerde
C#m7          B
Hissediyorum ama yoksun
A7           B7
Artık düşümde bile
 
A             B      C#m
Yaşıyorum ama bomboş belki, bana sen lazımsın
A           B     C#m
Gittin olmuyor sensiz, yine kaldım yarım
A            B     C#m
Son kez içmişim sanki, dudağımda tadın
A            B         C#m
Artık hep eksik yarınlarım

C#m7       B
Üzerimde aptal çöküntü
Ab7
Aklımdakiler hep hüzünlü
C#m7    B
Zihnimde dönüp duran
Ab7
Sürekli aynı görüntü
C#m7          B
Bana seni hatırlatan denizi
Ab7
Geride bırakıyorum tenini
C#m7     B
Eylül gelmiş de
A7            B7
Yaz bitiyormuş gibi

A             B      C#m
Yaşıyorum ama bomboş belki, bana sen lazımsın
A           B     C#m
Gittin olmuyor sensiz, yine kaldım yarım
A            B     C#m
Son kez içmişim sanki, dudağımda tadın
A            B         C#m
Artık hep eksik yarınlarım

A               B
Zaman kavramını unuttum evrendeki
Ab                    A
Uzay boşluğunda bir derin yara gibi
                   B
Öyle bir gittin ki, tıpkı dediğin gibi,
Ab                 A  B  F#m  B
Böylesi ikimize de dahaaaaaa iyi
Ab                 A  B  A   B  Ab  A  B
Böylesi ikimize de dahaaaaa iyi

A  C#m  A  C#m  A  C#m  A  C#m  G#m
A  C#m  A  C#m  A  C#m  A  C#m

A             B      C#m
Yaşıyorum ama bomboş belki, bana sen lazımsın
A           B     C#m
Gittin olmuyor sensiz, yine kaldım yarım
A            B     C#m
Son kez içmişim sanki, dudağımda tadın
A            B         C#m
Artık hep eksik yarınlarım

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348 - Bana Sen Lazımsın Tabs

NotesX

Harmony analysis

348 – Bana Sen Lazımsın: key and chord analysis

The song opens on A and ends on C#m. Its chords belong to both E major and C#m, so every chord below is read both ways.

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D# (leading tone, pulls home)
4 = A (the note that leans on the 3rd)

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)
#7 = B# (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 C# minor side because it comes to rest on C#m, C#m is heard 29 times while E never appears and the major V chord points straight at C#m. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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 E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	—
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	1×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	1×
V7/vi	Ab7	Secondary dominant V/vi — leads to C#msecondary dominant	Ab · C · Eb · Gb	6×
V/vi	Ab	Secondary dominant V/vi — leads to C#msecondary dominant	Ab · C · Eb	4×
IV	A	Subdominant — moves away from home	A · C# · E	27×
IV7	A7	Chromatic colour chordoutside the key	A · C# · E · G	2×
V	B	Dominant — strongest pull home	B · D# · F#	28×
V7	B7	Dominant — strongest pull home	B · D# · F# · A	2×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	21×
vi7	C#m7	Relative minor — the melancholy side	C# · E · G# · B	8×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	21×
i7	C#m7	Tonic — home	C# · E · G# · B	8×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	—
iv	F#m	Subdominant — moves away from home	F# · A · C#	1×
v	G#m	Minor dominant — soft pull	G# · B · D#	1×
V7	Ab7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Ab · C · Eb · Gb	6×
V	Ab	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Ab · C · Eb	4×
VI	A	Submediant — warm colour	A · C# · E	27×
VI7	A7	Chromatic colour chordoutside the key	A · C# · E · G	2×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	28×
VII7	B7	Subtonic — steps back to the tonic	B · D# · F# · A	2×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 10 different chords appear 100 times in total; 7 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same Ab7 / Ab is V7/vi, a secondary dominant heading for C#m. A7 step outside the scale as colour chords.

Chord movement

A B EIV → VIV → V C#mVI → VIIVI → VII ×19
B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×13
A C#m EIV → vi C#mVI → iVI → i ×8
Ab7 C#m7 EV7/vi → vi7secondary resolution C#mV7 → i7harmonic-minor cadence ×6
A7 B7 EIV7 → V7IV → V C#mVI7 → VII7VI → VII ×2
F#m B Eii → Vii → V C#miv → VII ×1

The move to watch is A → B, heard 19 times. From the C#m side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the E side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over B, land on B, D#, F# — 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.
Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
When Ab7 comes, swap the scale's B for B#: 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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

3 semitones up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

Starting on A, the song gives away its key from the very first bar. The chords that keep coming back are B, A, C#m, C#m7; read them as V–IV–vi–vi7 in E or VII–VI–i–i7 in C#m. Ab7 is the interesting twist: in E it is a chromatic chord (V7/vi), while in C#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A → B (IV → V in E, VI → VII in C#m): VI → VII — the rising step that heads for the tonic. It closes on C#m, letting the C#m 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.

348 - Bana Sen Lazımsın 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: 348

Music: 348

Arrangement: 348

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