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)
Emre Aydın - Kimse Olmadı Senin Gibi - Chord
Key A major – F# minor Chords F#m, Bm, Em, G, E Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
F#m Bm F#m E F#m
F#m Bm
Zaman geçti arkamdan kimseler bilmez ki
F#m
Sığmıyor mumlar artık doğum günü pastama
Bm
Üzerime bastıkça bastıkça yükseldi
F#m
Bir armağan oldun her yıl ipsiz bir uçurtma
F#m Em
Hiç kimse olmadı senin gibi
Bm F#m
Hiç kimse gelmedi bilirim gelmeyecek
Em
İsterdim kalmasın kaldığı gibi
Bm F#m
Ama amalar yasak bize, keşkeler kilitli
G F#m G F#m
Kimse olmadı senin gibi, hiç kimse olmadı
F#m Bm
Dikişlerim sağlam kimseler bilmez ki
F#m
Nasıl kanar içim saklar yüzüm
Bm
Üzerime bastıkça bastıkça yükseldi
F#m
Bilirim bitmez her şey geldiği gibi
End of song Play again?
Emre Aydın - Kimse Olmadı Senin Gibi Tabs
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Harmony analysis
Emre Aydın – Kimse Olmadı Senin Gibi: 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 14 times while A never appears. 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 | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 7× |
| 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 | — |
| V | E | Dominant — strongest pull home | E · G# · B | 1× |
| v | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 14× |
| bVII | G | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D | 2× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 14× |
| bII | G | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D | 2× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 7× |
| 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 | — |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 1× |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 26 times in total; 3 of them sit naturally inside the shared scale. G is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bm F#m Aii → vi F#miv → iminor plagal ×7
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×1
The move to watch is Bm → F#m, heard 7 times. From the F#m side it is iv → i (minor plagal: deep and melancholic); from the A side it reads ii → vi. 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- On G, follow the chord's notes (G · B · D) 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 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is F#m; the ear learns where home is within a second. The chords that keep coming back are F#m, Bm, Em, G; read them as vi–ii–v–bVII in A or i–iv–vii–bII in F#m. G briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Bm → F#m (ii → vi in A, iv → i in F#m): minor plagal — deep and melancholic. Ending on F#m, the song seals F#m as home.
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.
Emre Aydın - Kimse Olmadı Senin Gibi 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: Emre AydınMusic: Emre Aydın
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