Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Sıla Şahin - Bu Sana Son Bakışım - Chord
Key G major – E minor Chords Bm7, C Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm7 C Bm7 C
Bm7
Bu sana son bakışım
C
Ve sen hiç anlamadın
Senin olsun her şey
Bm7
Ve ben hep darmadağın
C
Yapamıyorum bitmedi kavgaların
Bm7
Bi faydası yok artık çabalamanın
Bm7
Toplandım ben günden güne
Gülemedim hiç senin gibi
C
Sen gününü gün ederken
Ben iptaldim senden beri
Bm7
Kırdım döktüm hiç olmadı
Adımı çıkardın hep deli
C
Son sözüm olsun bak sana
Görmedim sen gibi biri
Bm7
Kahretsin, mahvettin her şeyi
C
Sabrettim, düzelmedin gitti
Bm7
Sahtesin, yalanları seni
C
Mahvetsin, unutalım gitsin
Bm7
Bu sana son bakışım
C
Ve sen hiç anlamadın
Senin olsun her şey
Bm7
Ve ben hep darmadağın
C
Yapamıyorum bitmedi kavgaların
Bm7
Bi faydası yok artık çabalamanın
Bm7 C
Ömrümden çal benim çal benim hiç utanma
Bm7
Senden bir fayda yok olsada hep muamma
C
Yak beni yık beni kalmasın hiç bir parçam
Bm7
Senle geçen zamana yazık valla
End of song Play again?
Sıla Şahin - Bu Sana Son Bakışım Tabs
NotesX
Harmony analysis
Sıla Şahin – Bu Sana Son Bakışım: key and chord analysis
The song opens on Bm7 and ends on Bm7. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (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 G major and E 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 G or to Em; 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 | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 15× |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 12× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 15× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 12× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 2 different chords appear 27 times in total; 2 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
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over C, 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Bm7; the ear learns where home is within a second. The chords that keep coming back are Bm7, C; read them as iii7–IV in G or v7–VI in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Bm7; the ear comes to rest in G.
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.
Sıla Şahin - Bu Sana Son Bakışım 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: Samet Kardeşler - Sıla ŞahinMusic: Samet Kardeşler - Sıla ŞahinArrangement: Denizkan Boz
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