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)
Bülent Ortaçgil - Sensiz Olmaz - Chord
Key A major – F# minor Chords C#m7, Dmaj7, Bm7, Amaj7, E, F#m Easy key C
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Key: A | Gbm | F#m
Capo: 0
Dmaj7 C#m7 Bm7 C#m7 Dmaj7 C#m7 Bm7 Amaj7 Dmaj7 C#m7 Bm7 C#m7 Bu sabah yalnız uyandım sensiz olmaz sensiz olmaz Dmaj7 C#m7 Bm7 Amaj7 Tanıdık kokular yok sensiz olmaz Dmaj7 C#m7 Bm7 C#m7 Kahvaltım anlamsızdı sensiz olmaz, sensiz olmaz Dmaj7 C#m7 Bm7 Amaj7 İlk sigaram bile tatsızdı sensiz olmaz Dmaj7 C#m7 Bm7 C#m7 Anlaşılan alışmışım sensiz olmaz, sensiz olmaz Dmaj7 C#m7 Bm7 Amaj7 Bir verdiysem iki almışım sensiz olmaz Dmaj7 C#m7 Bm7 C#m7 Aşk bir dengesizlik işi sensiz olmaz, sensiz olmaz Dmaj7 C#m7 Bm7 Amaj7 Dengeye dönüşen bir sevgi sensiz olmaz Dmaj7 C#m7 E F#m Yine kendi kendime sormadan duramadım Dmaj7 C#m7 E F#m Niye seni böyle istiyorum diye bulamadım Dmaj7 C#m7 Bm7 C#m7 Yalnızlık zor, sokaklar çıkmaz sensiz olmaz, sensiz olmaz Dmaj7 C#m7 Bm7 Amaj7 Hep tekdüze, herşey dümdüz sensiz olmaz Dmaj7 C#m7 Bm7 C#m7 Anlamak çözmeye yetmez sensiz olmaz, sensiz olmaz Dmaj7 C#m7 Bm7 Amaj7 Biraz telaşlı, huzursuz sensiz olmaz Dmaj7 C#m7 E F#m Yine kendi kendime sormadan duramadım Dmaj7 C#m7 E F#m Niye seni böyle istiyorum diye bulamadım Dmaj7 C#m7 Bm7 C#m7 Gece gelmiş, yatağım boş sensiz olmaz, sensiz olmaz Dmaj7 C#m7 Bm7 Amaj7 Sen uzaktasın, ben uzanmış sensiz olmaz Dmaj7 C#m7 Bm7 C#m7 Anlamak çözmeye yetmez sensiz olmaz, sensiz olmaz Dmaj7 C#m7 Bm7 Amaj7 Biraz telaşlı, biraz huzursuz sensiz olmaz Dmaj7 C#m7 E F#m Yine kendi kendime sormadan duramadım Dmaj7 C#m7 E F#m Niye seni böyle istiyorum diye bulamadım
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Bülent Ortaçgil - Sensiz Olmaz Tabs
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Harmony analysis
Bülent Ortaçgil – Sensiz Olmaz: key and chord analysis
The song opens on Dmaj7 and ends on F#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)
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 comes to rest on F#m and A is heard 9 times against 6 for F#m. 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 |
|---|---|---|---|---|
| Imaj7 | Amaj7 | Tonic — home | A · C# · E · G# | 9× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 18× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 33× |
| 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# | 24× |
| V | E | Dominant — strongest pull home | E · G# · B | 6× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 6× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 6× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| IIImaj7 | Amaj7 | Relative major — the bright side | A · C# · E · G# | 9× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 18× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 33× |
| 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# | 24× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 6× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 96 times in total; 6 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
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×6
The move to watch is E → F#m, heard 6 times. From the A side it reads V → vi (deceptive cadence: expected A, lands on F#m); from the F#m side it is VII → i (Aeolian arrival: rises a whole tone into home). 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#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Bm7, 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening Dmaj7 lays a solid floor for everything that follows. The backbone is C#m7, Dmaj7, Bm7, Amaj7 — iii7–IVmaj7–ii7–Imaj7 from the A side, v7–VImaj7–iv7–IIImaj7 from the F#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → F#m (V → vi in A, VII → i in F#m): deceptive cadence — expected A, lands on F#m. The final chord is F#m; the ear comes to rest in F#m.
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.
Bülent Ortaçgil - Sensiz Olmaz 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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