Sezen Aksu - Bile Bile - Chord

Key C major – A minor Chords Am, Fmaj7, A#, Em7, E7, G, C, Bm … Difficulty already in its easiest key

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Capo 0

     Am         A#
Bir arada olabilmek ne mümkün
     Am          A#
Bir arada kalabilmek imkansız
G
Seneler alıp gitmiş
       Em7           C   Bm  E
Ne var ne yoksa her şeyi

   Am           A#
İnanılmaz değişen ben miyim
   Am           A#
İnanılmaz bu yabancı da kim
G
Sen misin böyle uzak
      Em7          C  Bm  E
Veda sözleri söyleyen

        Fmaj7
Geri dönmek inan işten değil
         Em7
Hani var ya tutamazsın kendini
        Dm7
Bir ümitle ya olursa dersin hep
       Cmaj7                E7
Bile bile her şeyin bittiğini

    Fmaj7     Am
Sonradan kor, sonradan kor
    E7     Cmaj7  Dm7  Em7  Fmaj7
Ayrılıklar an     be   an
Fmaj7        Am
Akıp gider, akıp gider
  E7              Fmaj7
Zaman sana aldırmadan

End of song Play again?

Sezen Aksu - Bile Bile Tabs

NotesX

Harmony analysis

Sezen Aksu – Bile Bile: key and chord analysis

The song opens on Am and ends on Fmaj7. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because it opens on Am, Am is heard 6 times against 4 for C and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	2×
Imaj7	Cmaj7	Tonic — home	C · E · G · B	2×
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	2×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	4×
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	3×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	2×
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	5×
V	G	Dominant — strongest pull home	G · B · D	2×
vi	Am	Relative minor — the melancholy side	A · C · E	6×
bVII	A#	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	A# · D · E#	4×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
vii	Bm	Chromatic colour chordoutside the key	B · D · F#	2×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	6×
bII	A#	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	A# · D · E#	4×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
ii	Bm	Chromatic colour chordoutside the key	B · D · F#	2×
III	C	Relative major — the bright side	C · E · G	2×
IIImaj7	Cmaj7	Relative major — the bright side	C · E · G · B	2×
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	2×
v7	Em7	Minor dominant — soft pull	E · G · B · D	4×
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	3×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	2×
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	5×
VII	G	Subtonic — steps back to the tonic	G · B · D	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 11 different chords appear 34 times in total; 7 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 / E is V7/vi, a secondary dominant heading for Am. A# is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×2
E Am CV/vi → vi AmV → iharmonic-minor cadence ×1

The move to watch is Fmaj7 → Am, heard 2 times. From the Am side it is VImaj7 → i (VI → i: falls a half step into home); from the C side it reads IVmaj7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
Over A#, land on A#, D, E# — the chord's own tones always sound right on strong beats.
When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
On A#, follow the chord's notes (A# · D · E#) rather than the key's scale — it's a borrowed colour.

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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is Am; the ear learns where home is within a second. Am, Fmaj7, A#, Em7 carry the song: vi–IVmaj7–bVII–iii7 relative to C, i–VImaj7–bII–v7 relative to Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Fmaj7 → Am (IVmaj7 → vi in C, VImaj7 → i in Am): VI → i — falls a half step into home. The final chord is Fmaj7; the ear comes to rest in C.

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.