Bilal Sonses - Sen Aldırma (Reynmen) - Chord

Key E major – C# minor Chords G#m, B, F#m, A, C#m Easy key C (capo 4)

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Capo 0

G#m        B     A           F#m
Sen aldırma giderim buralardan
         B        G#m
Bir pantolon bir ceket
G#m        B     A          F#m
Sen aldırma giderim uzaklarda
     B     G#m
Yaşadığımı farz et

G#m       B
Anan senin anan yarim
G#m        B
Baban senin baban yarim
F#m        C#m
Bana düşer çekip gitmek
A          F#m        G#m
Farz et dünya yalan yarim

G#m         B
Saçlarından tel kopar ver
G#m         B
Gönül nazlı bir şey ister
F#m       C#m       A
Beni sevdiğini söyle
      F#m        G#m
Bu bana bir ömür yeter

G#m                  A
Çare gelmeez ağlamaktaaan
        F#m  B          G#m
Ayrılır mııııı et tırnaktaan
          B           A
Başka yol yok ayrılmaktan
           F#m        G#m
Farz et sevgi yalan yarim

End of song Play again?

Bilal Sonses - Sen Aldırma (Reynmen) Tabs

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Harmony analysis

Bilal Sonses – Sen Aldırma (Reynmen): key and chord analysis

The song opens on G#m and ends on G#m. Its chords belong to both E major and C#m, so every chord below is read both ways.

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D# (leading tone, pulls home)
4 = A (the note that leans on the 3rd)

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C# minor side because C#m is heard 2 times while E never appears. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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.

Seen from E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	—
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	8×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	13×
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	—
IV	A	Subdominant — moves away from home	A · C# · E	6×
V	B	Dominant — strongest pull home	B · D# · F#	10×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	2×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	2×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	—
iv	F#m	Subdominant — moves away from home	F# · A · C#	8×
v	G#m	Minor dominant — soft pull	G# · B · D#	13×
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	—
VI	A	Submediant — warm colour	A · C# · E	6×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	10×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 39 times in total; 5 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

F#m B Eii → Vii → V C#miv → VII ×3
F#m C#m Eii → vi C#miv → iminor plagal ×2

The move to watch is F#m → B, heard 3 times. From the C#m side it is iv → VII; from the E side it reads ii → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — 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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

4 semitones down · capo 4 keeps the original pitch
3 semitones up

The song's harmonic story

Starting on G#m, the song gives away its key from the very first bar. G#m, B, F#m, A carry the song: iii–V–ii–IV relative to E, v–VII–iv–VI relative to C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m → B (ii → V in E, iv → VII in C#m): ii → V — the classic preparation of the dominant. It closes on G#m, letting the E 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.