Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Yıldız Tilbe - Ben Senin Var Ya - Chord
Key Ab major – F minor Chords Gm, Fm, Cm, G#, D#, Bb Easy key F (capo 3)
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Key: Ab | Fm
Capo: 0
Gm Fm D# Gm Ne sanıyordun ayrılmamı dağılmamı ya da Gm Fm D# Gm Ne düşünüyordun hakkımda günahın boynuna G# Fm Bb D# O onu dedi bu bunu dedi sen sustun mu ki Cm G# Fm Bana onları anlatıyorsun onlara beni Gm Cm Gm Cm Bırak bu işleri hadi dostum, o hikayelere ben çok tokum Gm Cm Bb G# Benim yolum belli amacım var umutlarım var Cm Bb Fm Gm Sen de senin taşıdıgın art niyetlerin var Cm G# Fm Gm Ben senin varya lafınla şekil alamam Cm G# Fm Gm Ben senin varya halini yadırgayamam Cm G# Fm Gm Sen benim varya tırnagıma makas bile Cm G# Fm Gm Sen benim varya e ne söylesem nafile Gm Fm D# Gm Bana ne dilersen kendinde fazlasıyla yaşa Gm Fm D# Gm Seni seviyorsam sanane aşk benim canımda G# Fm Bb D# Ne kadar uzak o kadar iyi arkadaşça bari Cm G# Fm Hiçbir şey problem degil görüşürüz yani
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Yıldız Tilbe - Ben Senin Var Ya Tabs
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Harmony analysis
Yıldız Tilbe – Ben Senin Var Ya: key and chord analysis
The song opens on Gm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (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 comes to rest on Fm and Fm is heard 13 times against 9 for Ab. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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# | 9× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| V/V | Bb | Secondary dominant V/V — leads to D#secondary dominant | Bb · D · F | 4× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 10× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | D# | Dominant — strongest pull home | D# · G · A# | 6× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 13× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| vii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 16× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 13× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| ii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 16× |
| III | G# | Relative major — the bright side | G# · B# · D# | 9× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| IV | Bb | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F | 4× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 10× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | D# | Subtonic — steps back to the tonic | D# · G · A# | 6× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 58 times in total; 4 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.
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
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. Gm, Fm, Cm, G# carry the song: vii–vi–iii–I relative to Ab, ii–i–v–III relative to Fm. Bb adds a moment of surprise: secondary dominant V/V — leads to D#. Ending on Fm, the song seals Fm 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.
Yıldız Tilbe - Ben Senin Var Ya 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: Yıldız TilbeMusic: Yıldız Tilbe
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