Aynur Aydın - Sahiden (Bünyas Herek) - Chord

Key A major – F# minor Chords F#m7, Dmaj7, C#m7, Bm7, C#m Easy key C

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Capo 0

F#m7  Dmaj7  C#m7  Bm7

           F#m7
Seni silen olmadı

Yaran kapanmadı
       Dmaj7
Yoluna serdiğim güller
          C#m7
Gidişinle solmadı

       C#m7
Saçıma aklar düştü
       Dmaj7
Yüzüme çizgiler
       F#m7
Zoruma gidiyor inan
        C#m7
Her gece ben ağlarken

F#m7
 Ben neden
        Dmaj7             C#m
Yaralar içinde kaldım birden

Sen neden
       Bm7
Bizi bıraktın yıktın sahiden

F#m7  Dmaj7  C#m7  Bm7

End of song Play again?

Aynur Aydın - Sahiden (Bünyas Herek) Tabs

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Harmony analysis

Aynur Aydın – Sahiden (Bünyas Herek): key and chord analysis

The song opens on F#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: to us the song feels closer to the F# minor side because it opens on F#m and F#m is heard 5 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.

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	3×
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	5×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	1×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	5×
V	E	Dominant — strongest pull home	E · G# · B	—
vi7	F#m7	Relative minor — the melancholy side	F# · A · C# · E	5×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i7	F#m7	Tonic — home	F# · A · C# · E	5×
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	3×
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	5×
v	C#m	Minor dominant — soft pull	C# · E · G#	1×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	5×
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). 5 different chords appear 19 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

Bm7 F#m7 Aii7 → vi7 F#miv7 → i7minor plagal ×2
Dmaj7 F#m7 AIVmaj7 → vi7 F#mVImaj7 → i7VI → i ×1
C#m7 F#m7 Aiii7 → vi7 F#mv7 → i7natural-minor cadence ×1

The move to watch is Bm7 → F#m7, heard 2 times. From the F#m side it is iv7 → i7 (minor plagal: deep and melancholic); from the A side it reads ii7 → vi7. 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#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over C#m7, land on C#, E, G# — 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

The first chord is F#m7; the ear learns where home is within a second. The chords that keep coming back are F#m7, Dmaj7, C#m7, Bm7; read them as vi7–IVmaj7–iii7–ii7 in A or i7–VImaj7–v7–iv7 in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → F#m7 (ii7 → vi7 in A, iv7 → i7 in F#m): minor plagal — deep and melancholic. Ending on Bm7, the song seals A 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.