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)
Feride Hilal Akın - Bilir mi (Enbe Orkestrası) - Chord
Key A major – F# minor Chords Dmaj7, C#m7, Amaj7, F#7, Bm7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
Dmaj7 C#m7 F#7 Bm7 Amaj7
Dmaj7 C#m7
Söz ağızdan çıktı bir kere, anladım gönülde vardı
Dmaj7 Amaj7
Şimdi bana yalnız, gitmesi kaldı
Dmaj7 C#m7
Ne yazık ki hakim bey, bir ifadem bir müdafam yok
Dmaj7 C#m7 Amaj7 C#m7
Sadece dört satırlık, son sözüm kaldı
Dmaj7 C#m7
Bilir mi, yerime gelen kıymetini bilir mi
F#7 Bm7
Bu insan cennete mevlaya küsen değil mi
Amaj7
Benim gibi koklar mı derinden
Dmaj7 C#m7 F#7
Bilir mi solmaya değer mi, şimdi sen bir yabancı gibi
Bm7 Amaj7
Ben seni ellerimle sularken
Dmaj7 C#m7 F#7 Bm7 Amaj7
Dmaj7 Amaj7
Bir ömür boyunca doyar mı
End of song Play again?
Feride Hilal Akın - Bilir mi (Enbe Orkestrası) Tabs
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Harmony analysis
Feride Hilal Akın – Bilir mi (Enbe Orkestrası): key and chord analysis
The song opens on Dmaj7 and ends on Amaj7. 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 A major side because it comes to rest on A and A is heard 7 times while F#m never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Amaj7 | Tonic — home | A · C# · E · G# | 7× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 4× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 8× |
| 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# | 9× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| V7/ii | F#7 | Secondary dominant V/ii — leads to Bmsecondary dominant | F# · A# · C# · E | 4× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| V7/iv | F#7 | Secondary dominant V/iv — leads to Bmsecondary dominant | F# · A# · C# · E | 4× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| IIImaj7 | Amaj7 | Relative major — the bright side | A · C# · E · G# | 7× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 4× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 8× |
| 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# | 9× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 32 times in total; 4 of them sit naturally inside the shared scale. F#7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F#7 Bm7 AV7/ii → ii7secondary resolution F#mV7/iv → iv7 ×4
- Dmaj7 Amaj7 AIVmaj7 → Imaj7plagal cadence F#mVImaj7 → IIImaj7 ×2
The move to watch is F#7 → Bm7, heard 4 times. From the A side it reads V7/ii → ii7 (secondary resolution: F#7 resolves a fourth up to Bm7); from the F#m side it is V7/iv → iv7. 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 Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Amaj7, 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
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on Dmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Dmaj7, C#m7, Amaj7, F#7; read them as IVmaj7–iii7–Imaj7–V7/ii in A or VImaj7–v7–IIImaj7–V7/iv in F#m. F#7 adds a moment of surprise: secondary dominant V/ii — leads to Bm. Keep an ear on F#7 → Bm7 (V7/ii → ii7 in A, V7/iv → iv7 in F#m): secondary resolution — F#7 resolves a fourth up to Bm7. The final chord is Amaj7; the ear comes to rest in A.
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.
Feride Hilal Akın - Bilir mi (Enbe Orkestrası) 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: Tan TaşçıMusic: Tan TaşçıArrangement: Febyo Taşel
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