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)
Tuğçe Kandemir - Anlı Şanlı - Chord
Key A major – F# minor Chords C#m7, Bm7, E7, F#m7, Dmaj7, Amaj7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
C#m7 Bm7
Sormayın nolur sancımı
C#m7 Dmaj7
Tüketti vefasız sabrımı
C#m7 Amaj7 Bm7
Gelmesin kapıma açıdan ölse de
E7 C#m7
Yıktım ben onun tahtını
Amaj7 Bm7
Sövmesin adıma affetmem dönse de
E7 C#m7 Dmaj7
Tanrım açık etsin bahtınııııııı
F#m7 C#m7 Bm7
Gidene sordular hep kalanın yok mu hatrı
E7 C#m7 Bm7 C#m7 Dmaj7
Sence de yok mu hiç bizde bi farrrrkıııııııı
C#m7 F#m7 Bm7
Nasıl olduk bi anda kanlı bıçaklı
E7 C#m7 Bm7 F#m7
Yakışırdı bize ayrılık anlı şanlıııı
F#m7 C#m7 Bm7 E7 C#m7 Bm7 C#m7 Dmaj7 C#m7 F#m7 Bm7 E7 F#m7
End of song Play again?
Tuğçe Kandemir - Anlı Şanlı Tabs
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Harmony analysis
Tuğçe Kandemir – Anlı Şanlı: key and chord analysis
The song opens on C#m7 and ends on F#m7. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because it comes to rest on F#m and F#m is heard 6 times against 2 for A. 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 |
|---|---|---|---|---|
| Imaj7 | Amaj7 | Tonic — home | A · C# · E · G# | 2× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 10× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 14× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 4× |
| V7 | E7 | Dominant — strongest pull home | E · G# · B · D | 6× |
| vi7 | F#m7 | Relative minor — the melancholy side | F# · A · C# · E | 6× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | F#m7 | Tonic — home | F# · A · C# · E | 6× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| IIImaj7 | Amaj7 | Relative major — the bright side | A · C# · E · G# | 2× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 10× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 14× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 4× |
| VII7 | E7 | Subtonic — steps back to the tonic | E · G# · B · D | 6× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 42 times in total; 6 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
- Bm7 E7 Aii7 → V7ii → V F#miv7 → VII7 ×6
- C#m7 F#m7 Aiii7 → vi7 F#mv7 → i7natural-minor cadence ×2
- Bm7 F#m7 Aii7 → vi7 F#miv7 → i7minor plagal ×1
- E7 F#m7 AV7 → vi7deceptive cadence F#mVII7 → i7Aeolian arrival ×1
- Dmaj7 F#m7 AIVmaj7 → vi7 F#mVImaj7 → i7VI → i ×1
The move to watch is Bm7 → E7, heard 6 times. From the F#m side it is iv7 → VII7; from the A side it reads ii7 → V7 (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 C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over E7, land on E, G#, B — 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 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 opening C#m7 lays a solid floor for everything that follows. C#m7, Bm7, E7, F#m7 carry the song: iii7–ii7–V7–vi7 relative to A, v7–iv7–VII7–i7 relative to F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → E7 (ii7 → V7 in A, iv7 → VII7 in F#m): ii → V — the classic preparation of the dominant. The final chord is F#m7; the ear comes to rest in F#m.
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.
Tuğçe Kandemir - Anlı Şanlı 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: Mert CarimMusic: Yücel Girgin
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