Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Sıla Şahin - Bir Bilebilsen (Sıla Şahin) - Chord
Key Ab major – F minor Chords Eb, Fm, Db Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm Eb Db Eb
Fm Eb
Gelir mi bilmem o geçen yıllar
Db Eb Fm
Bazı şeyler hiç değişmez aslında
Eb
Şimdi yoksun ama iyi ki vardın
Db Eb
Alışma gönlüm tükenir ömrün
Fm Eb Db
Oof bir bilebilsen ne kadar acı
Eb
Ama yok ilacı bu yaranın
Fm Eb Db
Gel dönebilirsen bu kalp davacı
Eb
Hadi yen inadı duramadım
Fm Eb
Öyle bir zaman gelir
Db Eb
Hatırlatır olup biteni
Fm Eb
Geçti mi yani bir ömür
Db Eb
Üzgünüm elimde değil
Fm Eb
Acın beni değiştirdi
Db
Sessizdim kör değil
Eb
Kaybetmekten korkmadım ki
Fm Eb Db
Oof bir bilebilsen ne kadar acı
Eb
Ama yok ilacı bu yaranın
Fm Eb Db
Gel dönebilirsen bu kalp davacı
Eb
Hadi yen inadı duramadım
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Sıla Şahin - Bir Bilebilsen (Sıla Şahin) Tabs
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Harmony analysis
Sıla Şahin – Bir Bilebilsen (Sıla Şahin): key and chord analysis
The song opens on Fm and ends on Eb. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (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 opens on Fm and Fm is heard 10 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 10× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 20× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 10× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 10× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 10× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 20× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 40 times in total; 3 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
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×10
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×9
The move to watch is Db → Eb, heard 10 times. From the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Ab 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
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening Fm lays a solid floor for everything that follows. The chords that keep coming back are Eb, Fm, Db; read them as V–vi–IV in Ab or VII–i–VI in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. The final chord is Eb; the ear comes to rest in Ab.
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.
Sıla Şahin - Bir Bilebilsen (Sıla Şahin) 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: Samet Kardeşler - Sıla ŞahinMusic: Samet Kardeşler - Sıla ŞahinArrangement: Denizkan Boz
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