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)
Semiha Yankı - Seninle Bir Dakika - Chord
Key A major – F# minor Chords F#m, Bm, E, D, A, C#7, Gm, B … Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
F#m B Bm F#m Seninle bir dakika umutlandırıyor beni D A E F#m Bir dakika siliyor canım yılların özlemini F#m Bm E A C#7 Hasret tükenmez gibi, kavuşmak bir dakika F#m E D Bm C#7 F#m Sevmek bir ömür süreeeer, sevişmek bir dakika F#m B Bm F#m Seninle buluşmamız bir dakikada geçti D A E F#m Gözlerim gözlerini canım, bir dakikada içti F#m Bm E A C#7 Hasret tükenmez gibi, kavuşmak bir dakika F#m E D Bm C#7 F#m Sevmek bir ömür süreeeer, sevişmek bir dakika Gm Cm F Bb D7 Hasret tükenmez gibi, kavuşmak bir dakika Gm F Bb Cm D7 Gm Sevmek bir ömür süreeeer, sevişmek bir dakika
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Semiha Yankı - Seninle Bir Dakika Tabs
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Harmony analysis
Semiha Yankı – Seninle Bir Dakika: key and chord analysis
The song opens on F#m and ends on Gm. 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)
- #7 = E# (harmonic-minor leading tone from the V chord)
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, F#m is heard 12 times against 4 for A and the major V chord points straight at F#m. 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 | 4× |
| bII | Bb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Bb · D · F | 2× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 6× |
| V/V | B | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# | 2× |
| biii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 2× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V7/vi | C#7 | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# · B | 4× |
| IV | D | Subdominant — moves away from home | D · F# · A | 4× |
| IV7 | D7 | Chromatic colour chordoutside the key | D · F# · A · C | 2× |
| V | E | Dominant — strongest pull home | E · G# · B | 6× |
| bVI | F | Borrowed from the parallel minorborrowed chord | F · A · C | 2× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 12× |
| bvii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 3× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 12× |
| bii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 3× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 4× |
| #III | Bb | Chromatic colour chordoutside the key | Bb · D · F | 2× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 6× |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# | 2× |
| #iv | Cm | Chromatic colour chordoutside the key | C · Eb · G | 2× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V7 | C#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# · B | 4× |
| VI | D | Submediant — warm colour | D · F# · A | 4× |
| VI7 | D7 | Chromatic colour chordoutside the key | D · F# · A · C | 2× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 6× |
| #VII | F | Chromatic colour chordoutside the key | F · A · C | 2× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 12 different chords appear 49 times in total; 5 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C#7 is V7/vi, a secondary dominant heading for F#m. B acts as a secondary dominant, briefly pointing at another chord of the key. F, Bb are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×4
- E A AV → Iauthentic cadence F#mVII → III ×2
- Bm F#m Aii → vi F#miv → iminor plagal ×2
- D A AIV → Iplagal cadence F#mVI → III ×2
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×2
- Bm E Aii → Vii → V F#miv → VII ×2
The move to watch is C#7 → F#m, heard 4 times. From the F#m side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the A side it reads V7/vi → vi (secondary resolution: C#7 resolves a fourth up to F#m). 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- When C#7 comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.
- On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.
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 opening F#m lays a solid floor for everything that follows. F#m, Bm, E, D carry the song: vi–ii–V–IV relative to A, i–iv–VII–VI relative to F#m. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C#7 → F#m (V7/vi → vi in A, V7 → i in F#m): harmonic-minor cadence — the major V resolves dramatically. The final chord is Gm; the ear comes to rest in A.
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.
Semiha Yankı - Seninle Bir Dakika 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: Münir EbcioğluMusic: Kemal Ebcioğlu
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