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)
Elif Buse Doğan - Bitti - Chord
Key A major – F# minor Chords C#m7, Dmaj7, Bm7, F#m, E Easy key C
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Key: A | Gbm | F#m
Capo: 0
C#m7 Dmaj7 C#m7 Dmaj7 C#m7 Dmaj7 C#m7 Dmaj7
C#m7
Bir anlamı kalmadı artık
Dmaj7
Benim için hiçbir şeyin
C#m7
Sana göre her şey kolay
Dmaj7
Nerde o verdiğin yemin
F#m
Şu kalbimi yaktın zaten
C#m7 Dmaj7
Açtığın yaralar bi hayli derin
C#m7
Benden uzak dur lütfen
Bm7 C#m7
Orası senin en güzel yerin
C#m7 Dmaj7
Seni öyle bi sevmiştim ama bitti
C#m7
Olacak şey miydi
Bm7
Daha da sana kanmam
C#m7
Bu kadar acı yetti
E Dmaj7
Bana bir hoşça kal bile demeden gitti
C#m7
Ne kadar zalimdi
Bm7
Adını bile anmam
C#m7
Başımı öne eğdi
C#m7 Daha C#m7 Dmaj7
Aldandım sevdana, bir kalbin var sandım
C#m7 Daha C#m7 Dmaj7
Dağıldım aslında, kalmadı bir şansım da
C#m7 Dmaj7
Seni öyle bi sevmiştim ama bitti
C#m7
Olacak şey miydi
Bm7
Daha da sana kanmam
C#m7
Bu kadar acı yetti
End of song Play again?
Elif Buse Doğan - Bitti Tabs
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Harmony analysis
Elif Buse Doğan – Bitti: key and chord analysis
The song opens on C#m7 and ends on C#m7. 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 F#m is heard 1 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 | — |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 4× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 17× |
| 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# | 10× |
| V | E | Dominant — strongest pull home | E · G# · B | 1× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 1× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 1× |
| 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 | 4× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 17× |
| 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# | 10× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 1× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 33 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
- Dmaj7 F#m AIVmaj7 → vi F#mVImaj7 → iVI → i ×1
The move to watch is Dmaj7 → F#m, heard once. From the F#m side it is VImaj7 → i (VI → i: falls a half step into home); from the A side it reads IVmaj7 → 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 C#m7, land on C#, E, G# — 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 Bm7, 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 chords that keep coming back are C#m7, Dmaj7, Bm7, F#m; read them as iii7–IVmaj7–ii7–vi in A or v7–VImaj7–iv7–i in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dmaj7 → F#m (IVmaj7 → vi in A, VImaj7 → i in F#m): VI → i — falls a half step into home. Ending on C#m7, 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.
Elif Buse Doğan - Bitti 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: Ramazan KızılpınarMusic: Ramazan KızılpınarArrangement: Çağrı Telkıvıran
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