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)
Ebru Gündeş - Sana Benziyor - Chord
Key A major – F# minor Chords F#m, Bm, E, C#7, D, C#m, A, G#dim … Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m D C#7 F#m
F#m C#m E F#m Bm E A D E F#m
F#m
Bak yine soldu güneş
Bm
Yine akşam oluyor
E Bm
Ömrümün kadehine
Bm F#m
Sensiz bir gün doluyor
F#m
Sen yoksun diye inan
C#m E
Dertliyim kederliyim
Bm E
Gelmezsen kahrolurum aahhh
A
Yıkılırım sevgilim
Bm
Tadın sinmiş suyuna
F#m
Taşına toprağına
G#dim C#7
Bu şehirde ne varsa
Bm C#7 F#m
Hepsi sana benziyor
F#m D F C#7 F#m
F#m C#m E F#m Bm E A D E F#m
F#m
Seni unutmak için
Bm
Ne yaptımsa olmuyor
E Bm
Tüm çabalar boşuna
Bm F#m
Elden bir şey gelmiyor
F#m
Sen yoksun diye inan
C#m E
Dertliyim kederliyim
Bm E
Gelmezsen kahrolurum aahhh
A
Yıkılırım sevgilim
Bm
Tadın sinmiş suyuna
F#m
Taşına toprağına
G#dim C#7
Bu şehirde ne varsa
Bm C#7 F#m
Hepsi sana benziyor
End of song Play again?
Ebru Gündeş - Sana Benziyor Tabs
NotesX
Harmony analysis
Ebru Gündeş – Sana Benziyor: key and chord analysis
The song opens on F#m and ends on F#m. 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: to us the song feels closer to the F# minor side because it both starts and finishes on F#m, F#m is heard 20 times against 4 for A 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | 4× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 14× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 4× |
| V7/vi | C#7 | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# · B | 6× |
| IV | D | Subdominant — moves away from home | D · F# · A | 4× |
| V | E | Dominant — strongest pull home | E · G# · B | 12× |
| bVI | F | Borrowed from the parallel minorborrowed chord | F · A · C | 1× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 20× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 20× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | 2× |
| III | A | Relative major — the bright side | A · C# · E | 4× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 14× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 4× |
| V7 | C#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# · B | 6× |
| VI | D | Submediant — warm colour | D · F# · A | 4× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 12× |
| #VII | F | Chromatic colour chordoutside the key | F · A · C | 1× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 9 different chords appear 67 times in total; 7 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. F is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bm E Aii → Vii → V F#miv → VII ×6
- C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×4
- E A AV → Iauthentic cadence F#mVII → III ×4
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×4
- Bm F#m Aii → vi F#miv → iminor plagal ×4
- D E AIV → VIV → V F#mVI → VIIVI → VII ×2
The move to watch is Bm → E, heard 6 times. From the F#m side it is iv → VII; from the A side it reads ii → V (ii → V: the classic preparation of the dominant). 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — 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.
- On F, follow the chord's notes (F · A · C) 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is F#m; the ear learns where home is within a second. The chords that keep coming back are F#m, Bm, E, C#7; read them as vi–ii–V–V7/vi in A or i–iv–VII–V7 in F#m. 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 Bm → E (ii → V in A, iv → VII in F#m): ii → V — the classic preparation of the dominant. It closes on F#m, letting the F#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.
Ebru Gündeş - Sana Benziyor 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: Hamza DekeliMusic: Uğur BayarArrangement: Taşkın Sabah
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