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)
Batuhan Mutlugil - Bambaşka - Chord
Key A major – F# minor Chords Em, G, D, C#, Bm, A, C#dim, A#dim Easy key D (capo 7)
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Key: A | Gbm | F#m
Capo: 0
D
Yanlış gördün baksana
C#
Olup biten bambaşka
G Em
İçimde farklı biçimde
D
Yalan dolan aslında
C#
Neler gizli ardında
G Em
Çözüm yok, belki gücüm yok
G Em
Ölüm yok, ucunda ölüm yok
G
İnkar eder söylerim
Bm
Aslım bozuk ben böyleyim
A
Mapus yatan gönül benim
Em
Çürür gider
G
Solmuş güzel gözlerin
Bm
Kurşun sıkar ben beklerim
A
Yarım kalan hayallerin
Em
Uçar gider
D C#dim A#dim
Uçar Gideeeeeeeer
D
Bir taş koy sen bağrına
C#
Ferman çıktı aşkına
G Em
İçimde farklı biçimde
D
Zarar ziyan faslında
C#
Keder bizi aldıysa
G Em
Çözüm yok, belki gücüm yok
G Em
Ölüm yok, ucunda ölüm yok
G
İnkar eder söylerim
Bm
Aslım bozuk ben böyleyim
A
Mapus yatan gönül benim
Em
Çürür gider
G
Solmuş güzel gözlerin
Bm
Kurşun sıkar ben beklerim
A
Yarım kalan hayallerin
Em
Uçar gider
D C#dim A#dim
Uçar gideeeeeeeer
Em
Uçar gider
D C#dim A#dim
Uçar gideeeeeeeer
End of song Play again?
Batuhan Mutlugil - Bambaşka Tabs
NotesX
Harmony analysis
Batuhan Mutlugil – Bambaşka: key and chord analysis
The song opens on D and ends on A#dim. 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: we can't honestly pick a side here — the song moves freely between A major and F# minor because A is heard 4 times while F#m never appears and the major V chord points straight at F#m. Try reading the chords both ways and see which feels more like home to you.
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 | 4× |
| vii°/ii | A#dim | Secondary leading-tone chord vii°/ii — leads to Bmsecondary dominant | A# · C# · E | 3× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 4× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | 4× |
| vii°/IV | C#dim | Secondary leading-tone chord vii°/IV — leads to Dsecondary dominant | C# · E · G | 3× |
| IV | D | Subdominant — moves away from home | D · F# · A | 7× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| v | Em | Chromatic colour chordoutside the key | E · G · B | 11× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| bVII | G | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D | 10× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| bII | G | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D | 10× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 4× |
| vii°/iv | A#dim | Secondary leading-tone chord vii°/iv — leads to Bmsecondary dominant | A# · C# · E | 3× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 4× |
| 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# | 4× |
| vii°/VI | C#dim | Secondary leading-tone chord vii°/VI — leads to Dsecondary dominant | C# · E · G | 3× |
| VI | D | Submediant — warm colour | D · F# · A | 7× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 11× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 8 different chords appear 46 times in total; 3 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. C#dim, A#dim act as secondary dominants, briefly pointing at another chord of the key. G is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — 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.
- On G, follow the chord's notes (G · B · 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 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on D, the song gives away its key from the very first bar. The chords that keep coming back are Em, G, D, C#; read them as v–bVII–IV–III in A or vii–bII–VI–V in F#m. C# is the interesting twist: in A it is a chromatic chord (III), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. The final chord is A#dim; the ear comes to rest in A.
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.
Batuhan Mutlugil - Bambaşka 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: Batuhan MutlugilMusic: Batuhan Mutlugil
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