Ezhel - Bul Beni - Chord

Key A major – F# minor Chords D, F#m, A, C#m7, C#7 Easy key G (capo 2)

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Capo 0

F#m  D  A  C#m7

F#m                              D
Rüyalarıma giriyor senle sevgili olmak

Ama sen diye yok bi şey
A                                      C#m7
Bu kadar zor olamaz hayalimdeki kişiyi bulmak

Vazgeçtim artık sen beni
F#m                   D
Bul beni, bul beni, ohh
                    A                     C#7
Artık bul beni, ya, bul beni, bul beni, ohh

Artık bul beni, ya

F#m
Tatlı kızlar dört yanımda
D
Hepsi hoş da belli olmaz
A                                C#m7
Kim beni benim için sevebilecek acep

Tüm yüreğiyle
          F#m                   D
Sen artık bul beni, bul beni, ohh
D                   A                    C#7
Artık bul beni, ya, bul beni, bul beni, ohh

Artık bul beni, ya

F#m
Gel yanıma, yanla canım (Gel)
D
Bu yaz ne yapcaz, planlayalım (Bebek)
A
Sexy body, sallayadur
C#m7
Saçın, vücudun, kalçaların

F#m
Hem sеvgilim ol hem arkadaşım
D
Desem "Bi yarim var yaşasın"
A
Kız gеl de bana, de "Angaralım"
C#m7
Dağıt şu sisli manzaramı

       F#m                 D
Bugüne dek  gitmedi şansım yaver
             A
İyi de böyle madem
               C#m7
Belki de sendin zaten
(Tüm beklediğim)

F#m
Bugüne dek, bugüne dek beni yediler
   D
Sevmediler diyemem ama değişti birden
    A
Tüm hâlleri beni bi bana bırakamadılar
     C#m7
Beni anlayamadılar, bıktım dramalarından

    F#m
Tüm kalbimi döktüm önlerine
       D
Yoldaş olsunlar istedim ömrümce
      A
Olmaz istedikleri istediğim
       C#m7    
Korkar oldum artık kimse gönlümde

Yok da

       F#m                 D
Bugüne dek  gitmedi şansım yaver
             A
İyi de böyle madem
                C#7
Belki de sendin zaten

(Tüm beklediğim)

F#m
Tatlı kızlar dört yanımda
D
Hepsi hoş da belli olmaz
A                                C#m7
Kim beni benim için sevebilecek acep

Tüm yüreğiyle
          F#m                   D
Sen artık bul beni, bul beni, ohh
D                   A                    C#7
Artık bul beni, ya, bul beni, bul beni, ohh

Artık bul beni, ya

End of song Play again?

Ezhel - Bul Beni Tabs

NotesX

Harmony analysis

Ezhel – Bul Beni: key and chord analysis

The song opens on F#m and ends on C#7. 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 opens on F#m 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	13×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	9×
V7/vi	C#7	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G# · B	4×
IV	D	Subdominant — moves away from home	D · F# · A	15×
V	E	Dominant — strongest pull home	E · G# · B	—
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	13×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	9×
V7	C#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G# · B	4×
VI	D	Submediant — warm colour	D · F# · A	15×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 54 times in total; 4 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#7 is V7/vi, a secondary dominant heading for F#m.

Chord movement

D A AIV → Iplagal cadence F#mVI → III ×13
C#m7 F#m Aiii7 → vi F#mv7 → inatural-minor cadence ×9
C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×3

The move to watch is D → A, heard 13 times. From the F#m side it is VI → III; from the A side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — 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.
When C#7 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

2 semitones down · capo 2 keeps the original pitch
3 semitones up

The song's harmonic story

Starting on F#m, the song gives away its key from the very first bar. The backbone is D, F#m, A, C#m7 — IV–vi–I–iii7 from the A side, VI–i–III–v7 from the F#m side. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D → A (IV → I in A, VI → III in F#m): plagal cadence — the soft 'amen' ending. Ending on C#7, the song seals A 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.