Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Sena Şener - Bak Bana - Chord
Key Bb major – G minor Chords Gm, Cm, D, Dm, D7, Bb Easy key C
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Key: Bb | Gm
Capo: 0
Gm
Bak bana, bak bana, ne zerre kaldı benden
Sev beni, sev beni, istemem başka senden
Kim bilir, nerdesin, bilinmez bir yerdesin
D Gm
Sev beni, tek beni, öyle sev ki
Gm Dm
Ama zamanı değil, zamanı değil gitmenin
Cm D7
Kendimden sana sana sana sana sana, hımm
Gm
O bir tepe, ben bir ova, koyulmuşuz aynı yola
O gök mavi, bense kara, koyulmuşuz aynı dünyaya
Gm Cm Bb Cm Gm
Zaman zaman sorarım neden, zaman nedir, sabah nedir
Cm Gm Cm Gm
Şimdi gitsem buralardan, bunu kim bilir, kim bilir
Gm
Bak bana, bak bana, ne zerre kaldı benden
Sev beni, sev beni, istemem başka senden
Kim bilir, nerdesin, bilinmez bir yerdesin
D Gm
Sev beni, tek beni, öyle sev ki
Gm Dm
Ama zamanı değil, zamanı değil gitmenin
Cm D7
Kendimden sana sana sana sana sana, hımm
Gm
O bir tepe, ben bir ova, koyulmuşuz aynı yola
O gök mavi, bense kara, koyulmuşuz aynı dünyaya
Gm Cm Bb Cm Gm
Zaman zaman sorarım neden, zaman nedir, sabah nedir
Cm Gm Cm Gm
Şimdi gitsem buralardan, bunu kim bilir, kim bilir
End of song Play again?
Sena Şener - Bak Bana Tabs
NotesX
Harmony analysis
Sena Şener – Bak Bana: key and chord analysis
The song opens on Gm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (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 G minor side because it both starts and finishes on Gm, Gm is heard 16 times against 2 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 2× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 10× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 2× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 2× |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 2× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 16× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 16× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 2× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 10× |
| v | Dm | Minor dominant — soft pull | D · F · A | 2× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 2× |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 2× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 34 times in total; 4 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D / D7 is V/vi, a secondary dominant heading for Gm.
Chord movement
- Cm Gm Bbii → vi Gmiv → iminor plagal ×6
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×2
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×2
- Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×2
The move to watch is Cm → Gm, heard 6 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- When D comes, swap the scale's F for F#: 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. Gm, Cm, D, Dm carry the song: vi–ii–V/vi–iii relative to Bb, i–iv–V–v relative to Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. It closes on Gm, letting the Gm 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.
Sena Şener - Bak Bana 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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