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)
Aydın Sarman - Ben Seni Hiç Görmeden Sevdim - Chord
Key A major – F# minor Chords F#m, A, B7, Em, E, Bm7, E7, B Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
A A
A Bm7
Ben seni hiç görmeden sevdim
E7 A
Sesini hiç duymadan hissettim
Bm7
Yokluğun belki de ilk hüznümdü
E7 A
Atam sana kavuşmadan özledim
F#m B
Varlığın dağ taş deniz ülkemde
F#m B
Seninle yürürüz geleceğe
Em
Çoktan göklere yükselsen de
A
Senin yerin kalbimizde
x2
F#m B7 F#m B7 Em E
F#m B7
Varlığın dağ taş deniz ülkemde
F#m B7
Seninle yürürüz geleceğe
Em
Çoktan göklere yükselsen de
E
Senin yerin kalbimizde
F#m B7
Unutulmaz bir destansın dillerde
F#m B7
Sönmeyen ışıksın sen ülkemde
Em
Çoktan göklere yükselsen de
E
Senin yerin kalbimizde, kalbimizde
End of song Play again?
Aydın Sarman - Ben Seni Hiç Görmeden Sevdim Tabs
NotesX
Harmony analysis
Aydın Sarman – Ben Seni Hiç Görmeden Sevdim: key and chord analysis
The song opens on A and ends on E. 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: we can't honestly pick a side here — the song moves freely between A major and F# minor because it opens on A and F#m is heard 8 times against 6 for A. 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 | 6× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 2× |
| V7/V | B7 | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# · A | 6× |
| V/V | B | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# | 2× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| V | E | Dominant — strongest pull home | E · G# · B | 3× |
| V7 | E7 | Dominant — strongest pull home | E · G# · B · D | 2× |
| v | Em | Chromatic colour chordoutside the key | E · G · B | 4× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 8× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 8× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 6× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 2× |
| IV7 | B7 | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# · A | 6× |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# | 2× |
| 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# | — |
| VI | D | Submediant — warm colour | D · F# · A | — |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 3× |
| VII7 | E7 | Subtonic — steps back to the tonic | E · G# · B · D | 2× |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 4× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 8 different chords appear 33 times in total; 5 of them sit naturally inside the shared scale. B7, B act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- B7 Em AV7/V → vsecondary resolution F#mIV7 → vii ×3
- E7 A AV7 → Iauthentic cadence F#mVII7 → III ×2
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×2
- Bm7 E7 Aii7 → V7ii → V F#miv7 → VII7 ×2
The move to watch is B7 → Em, heard 3 times. From the A side it reads V7/V → v (secondary resolution: B7 resolves a fourth up to Em); from the F#m side it is IV7 → vii. 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over B7, land on B, D#, F# — 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening A lays a solid floor for everything that follows. The backbone is F#m, A, B7, Em — vi–I–V7/V–v from the A side, i–III–IV7–vii from the F#m side. B7 adds a moment of surprise: secondary dominant V/V — leads to E. Keep an ear on B7 → Em (V7/V → v in A, IV7 → vii in F#m): secondary resolution — B7 resolves a fourth up to Em. It closes on E, letting the A 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.
Aydın Sarman - Ben Seni Hiç Görmeden Sevdim 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: Burcu GüvenMusic: Aydın SarmanArrangement: Aydın Sarman
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