Mustafa Sandal - Suç Bende - Chord

Key A major – F# minor Chords F#m, A, Bm7, G, Fdim7, Am, Dm, Bm7b5 … Easy key D (capo 7)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

A              Bm7               A    
Dur, dur bir dakika dinle ufak ufak benimle
          Bm7
Paylaş bu anı, kaybetme

           F#m              G
Belki de yanlışım zaman zaman
           Fdim7          F#m
Belki de hasretim o sevgine
           F#m              G
Belki de doğruyum zaman zaman
          Fdim7            F#m
Öylesi yalnızım ben her gece
 
     Am         Dm
Ama suç bende sever gibiyim
Bm7b5              E7
Gel benim ol da rahat edeyim

End of song Play again?

Mustafa Sandal - Suç Bende Tabs

NotesX

Harmony analysis

Mustafa Sandal – Suç Bende: key and chord analysis

The song opens on A and ends on E7. 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: we can't honestly pick a side here — the song moves freely between A major and F# minor because it opens on A and F#m is heard 4 times against 2 for A. 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 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	2×
i	Am	Chromatic colour chordoutside the key	A · C · E	1×
ii7	Bm7	Supertonic — prepares the dominant	B · D · F# · A	2×
iiø7	Bm7b5	Chromatic colour chordoutside the key	B · D · F · A	1×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	—
iv	Dm	Minor iv — borrowed from the parallel minorborrowed chord	D · F · A	1×
V7	E7	Dominant — strongest pull home	E · G# · B · D	1×
vii°7/vi	Fdim7	Secondary leading-tone chord vii°7/vi — leads to F#msecondary dominant	F · Ab · Cb · D	2×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	4×
bVII	G	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	G · B · D	2×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	4×
bII	G	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	G · B · D	2×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	2×
iii	Am	Chromatic colour chordoutside the key	A · C · E	1×
iv7	Bm7	Subdominant — moves away from home	B · D · F# · A	2×
ivø7	Bm7b5	Chromatic colour chordoutside the key	B · D · F · A	1×
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	—
vi	Dm	Chromatic colour chordoutside the key	D · F · A	1×
VII7	E7	Subtonic — steps back to the tonic	E · G# · B · D	1×
#vii°7	Fdim7	Leading-tone chord (harmonic minor)harmonic minor	F · Ab · Cb · D	2×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 9 different chords appear 16 times in total; 4 of them sit naturally inside the shared scale. G, Dm are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bm7 F#m Aii7 → vi F#miv7 → iminor plagal ×1

The move to watch is Bm7 → F#m, heard once. From the A side it reads ii7 → vi; from the F#m side it is iv7 → i (minor plagal: deep and melancholic). 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 A, land on A, C#, E — 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.
On G, follow the chord's notes (G · B · D) 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

5 semitones up · capo 7 keeps the original pitch
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening A lays a solid floor for everything that follows. F#m, A, Bm7, G carry the song: vi–I–ii7–bVII relative to A, i–III–iv7–bII relative to F#m. Fdim7 adds a moment of surprise: secondary leading-tone chord vii°7/vi — leads to F#m. Keep an ear on Bm7 → F#m (ii7 → vi in A, iv7 → i in F#m): minor plagal — deep and melancholic. The final chord is E7; 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.