Sura İskenderli - Dinle - Chord

Key A major – F# minor Chords C#m7, Bm7, Bm Easy key C

Add to Repertoire

No ratings yet

or your user informations

Capo 0

C#m7  Bm7  C#m7  Bm7

C#m7           Bm7
Dilerim aşktan alacağın olsun
C#m7            Bm7
Yine mi baştan, bi gözün doysun
C#m7
Aklın beş karış havada
Bm7
Sen deniz ben karada
C#m7            Bm7 
Canımı acıtıyon çekil bi oradan

C#m7              Bm7
Ya bi dinle dinle dinle beni
      C#m7                 Bm7
Ya bi dinle beni öldürdün elinle beni

C#m7
Dilindeki ok mu
Bm7
Hiç hatrım yok mu
C#m7
Sevenlerin çok mu
Bm7
Bu havan kime

C#m7
Yine kandın mı
Bm7
Ele aldandın mı
C#m7
Sen havalandın mı
Bm7
Öfken kime

C#m7             Bm7
Hep aklımdaydın, fikrimdeydin
C#m7         Bm7
Nasıl kaydın kalbime
C#m7        Bm
Ağladıysam, sızladıysam
C#m7           Bm7
Ne anlatdıysam nafile

C#m7              Bm7
Ya bi dinle dinle dinle beni
      C#m7                 Bm7
Ya bi dinle beni öldürdün elinle beni

C#m7
Elin misin sen
Bm7
Emin misin sen
C#m7       Bm7
Deli misin sen

End of song Play again?

Sura İskenderli - Dinle Tabs

NotesX

Harmony analysis

Sura İskenderli – Dinle: key and chord analysis

The song opens on C#m7 and ends on Bm7. Its chords belong to both A major and F#m, so every chord below is read both ways.

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)

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: we can't honestly pick a side here — the song moves freely between A major and F# minor. Try reading the chords both ways and see which feels more like home to you.

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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
ii7	Bm7	Supertonic — prepares the dominant	B · D · F# · A	19×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	1×
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	20×
III	C#	Chromatic colour chordoutside the key	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	—
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	—
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	—
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
iv7	Bm7	Subdominant — moves away from home	B · D · F# · A	19×
iv	Bm	Subdominant — moves away from home	B · D · F#	1×
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	20×
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	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 3 different chords appear 40 times in total; 3 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — 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.

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

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on C#m7, the song gives away its key from the very first bar. The backbone is C#m7, Bm7, Bm — iii7–ii7–ii from the A side, v7–iv7–iv from the F#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Bm7, letting the A 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.