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)
Sertab Erener - Tesadüf Aşk - Chord
Key A major – F# minor Chords F#m, Bm, E, C#m, A, C# Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m
Herşey ne kadar hızlı
Bm
Her şey ne çok
F#m
Oturup ince şeyler düşünmek için vakit yok
Bm
En son ne zaman baktın gökyüzüne
F#m
Ne zaman geldin göz göze birisiyle
F#m C#m Bm
Ben yine yollara düştüm yine zorlara
E C#
Hem korkak hem gözü kara uçlardan uçlara
F#m C#m Bm
Ben yine taşlara vurdum deli başımı
E C#
Sürüklüyorum kendimi tesadüf aşklara
F#m E A E
Yanmışız aman halimiz duman
Bm
Yetmiyor zaman aman aman aman
F#m E A E
Yanmışız aman halimiz duman
Bm
Yetmiyor zaman aman aman aman
F#m E A E Bm
F#m Bm
Ne kadar oldu vapurla karşıya geçmeyeli
F#m
Oturup bir çay bahçesinde çay içmeyeli
Bm
Ne zaman alıştın sen yalan söylemeye
F#m
Kendini en seveninden bile gizlemeye
C#m Bm
Bir adım atsaydın ben hazırdım halbuki
C#m
Kendini bıraksam taşırdın gitgellerini
Bm
Neden kabuk bağlamaz ki bu gizli yara
C#m
Biraz daha dayansaydın sarardık belki
End of song Play again?
Sertab Erener - Tesadüf Aşk Tabs
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Harmony analysis
Sertab Erener – Tesadüf Aşk: key and chord analysis
The song opens on F#m and ends on C#m. 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)
- #7 = E# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because it opens on F#m, F#m is heard 11 times against 3 for A and the major V chord points straight at F#m. 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 |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | 3× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 11× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 5× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | 2× |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| V | E | Dominant — strongest pull home | E · G# · B | 8× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 11× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 11× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 3× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 11× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 5× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | 2× |
| VI | D | Submediant — warm colour | D · F# · A | — |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 8× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 40 times in total; 5 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C# is V/vi, a secondary dominant heading for F#m.
Chord movement
- Bm F#m Aii → vi F#miv → iminor plagal ×7
- E A AV → Iauthentic cadence F#mVII → III ×3
- C# F#m AV/vi → vi F#mV → iharmonic-minor cadence ×2
- Bm E Aii → Vii → V F#miv → VII ×2
The move to watch is Bm → F#m, heard 7 times. From the F#m side it is iv → i (minor plagal: deep and melancholic); from the A side it reads ii → vi. 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- When C# comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.
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 first chord is F#m; the ear learns where home is within a second. F#m, Bm, E, C#m carry the song: vi–ii–V–iii relative to A, i–iv–VII–v relative to F#m. C# is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bm → F#m (ii → vi in A, iv → i in F#m): minor plagal — deep and melancholic. The final chord is C#m; 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.
Sertab Erener - Tesadüf Aşk 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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