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)
Emir Can İğrek - Tenha - Chord
Key A major – F# minor Chords F#m, Bm, Dmaj7, D, C#m Easy key G (capo 2)
No ratings yet
or your user informations
Make it yours
Text size
Key: A | Gbm | F#m
Capo: 0
F#m
Tüm sürü göç etmiş de
Bm
Tek başına kalmış
D F#m
Kuş gibi kalsan da
F#m
Yatağın yok
Bm
Sıcağın yok
D
Kucağın yok
F#m
Kabul et anayasan bu büyüt çocukluğunu
Bm
Otel odalarında, yolcu duraklarında
C#m
Gittiğin her şehirde unutulmuş bir yer var
Dmaj7 D F#m
İçin burulmuyorsa yaşamıyorsun asla
Bm Dmaj7
En ücra, en tenhaaa
F#m
Kavgamı anlatıcam sana defalarca
Bm Dmaj7
Hep aşka, sevdayaaa
F#m
Harcanacak bu gönül ömür boyunca
F#m Bm Dmaj7 F#m
Tenha, tenha, tenhaaaaa
End of song Play again?
Emir Can İğrek - Tenha Tabs
NotesX
Harmony analysis
Emir Can İğrek – Tenha: 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 9 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# | 6× |
| 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# | 4× |
| IV | D | Subdominant — moves away from home | D · F# · A | 3× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 9× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 9× |
| 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# | 6× |
| 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# | 4× |
| VI | D | Submediant — warm colour | D · F# · A | 3× |
| 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 23 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
- D F#m AIV → vi F#mVI → iVI → i ×3
- Dmaj7 F#m AIVmaj7 → vi F#mVImaj7 → iVI → i ×3
The move to watch is D → F#m, heard 3 times. From the F#m side it is VI → i (VI → i: falls a half step into home); from the A side it reads IV → 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 Dmaj7, 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
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, Dmaj7, D; read them as vi–ii–IVmaj7–IV in A or i–iv–VImaj7–VI in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → F#m (IV → vi in A, VI → i in F#m): VI → i — falls a half step into home. The final chord is F#m; the ear comes to rest in F#m.
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.
Emir Can İğrek - Tenha 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Emir Can İğrekMusic: Emir Can İğrekArrangement: Alperen Gün
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.