Kıraç - Senden Başka - Chord

Key A major – F# minor Chords C#m, B, A, F#m, D#, G#, E Easy key C

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Capo 0

C#m          B
Gurbet elde bir başıma
A                 C#m
Kimim var ki senden başka
C#m          B
Öldüm desem bir damla su
A                 C#m
Veren mi var senden başka
 
F#m           G#
Kekik kokan dağlarım yok
C#m          A
Bülbül öten bağlarım yok
B          E          
Tutunacak dallarım yok
F#m          B         C#m
Neyim kaldı senden başka
C#m                   F#m
Bana candan bir kez aşkım
C#m           A
Diyen mi var diyen mi var
D#           B         C#m
Diyen mi var senden başka
 
F#m  C#m  D#  F#m  C#m
 
C#m        B
Semaverde çayım sensin
A              C#m
Her çiçekte balım sensin
C#m         B
Ne gelirse senden gelsin
A                 C#m
Canım mı var senden başka

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Kıraç - Senden Başka Tabs

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Harmony analysis

Kıraç – Senden Başka: key and chord analysis

The song opens on C#m and ends on C#m. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A major side because A is heard 6 times against 5 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

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	6×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
V/V	B	Secondary dominant V/V — leads to Esecondary dominant	B · D# · F#	7×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	15×
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	—
#IV	D#	Chromatic colour chordoutside the key	D# · G · A#	2×
V	E	Dominant — strongest pull home	E · G# · B	1×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	5×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—
V/iii	G#	Secondary dominant V/iii — leads to C#msecondary dominant	G# · B# · D#	1×

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	5×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
V/v	G#	Secondary dominant V/v — leads to C#msecondary dominant	G# · B# · D#	1×
III	A	Relative major — the bright side	A · C# · E	6×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
IV	B	Major IV — Dorian / melodic-minor colourmodal colour	B · D# · F#	7×
v	C#m	Minor dominant — soft pull	C# · E · G#	15×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	—
#VI	D#	Chromatic colour chordoutside the key	D# · G · A#	2×
VII	E	Subtonic — steps back to the tonic	E · G# · B	1×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 37 times in total; 4 of them sit naturally inside the shared scale. B, G# act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

C#m F#m Aiii → vi F#mv → inatural-minor cadence ×3
E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×1

The move to watch is C#m → F#m, heard 3 times. From the A side it reads iii → vi; from the F#m side it is v → i (natural-minor cadence: gentle, modal arrival). 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#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over B, land on B, D#, F# — 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.

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
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The first chord is C#m; the ear learns where home is within a second. The chords that keep coming back are C#m, B, A, F#m; read them as iii–V/V–I–vi in A or v–IV–III–i in F#m. B adds a moment of surprise: secondary dominant V/V — leads to E. Keep an ear on C#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. It closes on C#m, 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.