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)
Serra Arıtürk - Kendimi Bilmeden - Chord
Key A major – F# minor Chords F#m, E, D, A Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
F#m
Kendimi bilmeden
A F#m
Bastığım yeri görmeden
E
Sadece koştum sana
F#m D
Kıyametler kopsa da
F#m
Emin bile değilken
A F#m
Ne istediğimden
E
Tutundum bir kez daha
D
Yaptığımız hatalara
D E
Şimdi bak bana söyle
İnanır mıydın sen olsan yerimde
D E
Verdiğin o sözlere
F#m E
Hiç mi kalmadı içinde
D E
Ne anlamı vardı
Kalbin seni yarı yolda bıraktı
D E
Ne desem ben nafile
F#m
Hazırdın pes etmeye
F#m
Ver ver ateşe, yeter mi, beni yakmaya değer mi, değmez
Ben vazgeçersem anlarsın, ver ver ateşe, yeter mi
Beni yakmaya değer mi, değmez, ben vazgeçersem ağlarsın
F#m
Ne varsa aşkta, çok yanılttın
D
Bu hep böyle gider sandın
E D
Kendine dön bak çok geç kaldın
E F#m
Sevmeseydim seni kalır mıydın
F#m
Ver ver ateşe, yeter mi, beni yakmaya değer mi, değmez
Ben vazgeçersem anlarsın, ver ver ateşe, yeter mi
Beni yakmaya değer mi, değmez, ben vazgeçersem ağlarsın
End of song Play again?
Serra Arıtürk - Kendimi Bilmeden Tabs
NotesX
Harmony analysis
Serra Arıtürk – Kendimi Bilmeden: key and chord analysis
The song opens on F#m 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: to us the song feels closer to the F# minor side because it both starts and finishes on F#m and F#m is heard 11 times against 2 for A. 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 | 2× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 8× |
| V | E | Dominant — strongest pull home | E · G# · B | 9× |
| 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 | 2× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 8× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 9× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 30 times in total; 4 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
- D E AIV → VIV → V F#mVI → VIIVI → VII ×6
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×4
- D F#m AIV → vi F#mVI → iVI → i ×1
The move to watch is D → E, heard 6 times. From the F#m side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the A side it reads IV → V (IV → V: the lift that builds tension before 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 F#m, land on F#, A, C# — 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.
- Over D, land on D, F#, A — 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
Starting on F#m, the song gives away its key from the very first bar. The chords that keep coming back are F#m, E, D, A; read them as vi–V–IV–I in A or i–VII–VI–III in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → E (IV → V in A, VI → VII in F#m): VI → VII — the rising step that heads for the tonic. It closes on F#m, letting the F#m 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.
Serra Arıtürk - Kendimi Bilmeden 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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Lyrics: Serra ArıtürkMusic: Serra ArıtürkArrangement: Osman Çetin
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