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)
Emrah Karaduman - Sevmek Yok (Aleyna Tilki) - Chord
Key A major – F# minor Chords F#m, C#m, B, A, E, D, Bm Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m F#m C#m B
F#m A E D
Kafasını koyduğunu yapmadan duramayan
F#m A E D
Bir dalı tutmadan bir diğerini bırakmayan
F#m A E D
Kötülük konularında şeytanı aratmayan
F#m A E D
İnsanlıktan nasibini alamayanlar var
F#m Bm C#m Bm
Geçmişin hesabını yapıyorum kaç gündür
F#m Bm
Beni bütün üzen biri ve o kalpsizi
C#m
Tanrım sen de süründür
F#m
Yüreğin her dediğini
C#m B
Duymak yok bundan sonraaaaaaa
F#m
Ayrılık şarkıları
C#m B
Çalmak yok bundan sonraaaaaaa
F#m
Yüreğin her dediğini
C#m B
Duymak yok bundan sonraaaaaaa
F#m
Kendimden başkasını
C#m B
Sevmek yok bundan sonraaaaaaa
Sevmek yok
F#m A E D
Kötülük konularında şeytanı aratmayan
F#m A E D
İnsanlıktan nasibini alamayanlar var
F#m Bm C#m
Geçmişin hesabını yapıyorum kaç gündür
Bm F#m Bm
Beni bütün üzen biri ve o kalpsizi
C#m
Tanrım sen de süründür
F#m
Yüreğin her dediğini
C#m B
Duymak yok bundan sonra
F#m
Ayrılık şarkıları
C#m B
Çalmak yok bundan sonra
F#m
Yüreğin her dediğini
C#m B
Duymak yok bundan sonra
F#m
Kendimden başkasını
C#m
Sevmek yok bundan sonra
B
Sevmek yok
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Emrah Karaduman - Sevmek Yok (Aleyna Tilki) Tabs
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Harmony analysis
Emrah Karaduman – Sevmek Yok (Aleyna Tilki): key and chord analysis
The song opens on F#m and ends on B. 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 it opens on F#m and F#m is heard 20 times against 6 for A. 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 | 6× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 6× |
| V/V | B | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# | 9× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 13× |
| 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 | 6× |
| V | E | Dominant — strongest pull home | E · G# · B | 6× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 20× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 20× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 6× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 6× |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# | 9× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 13× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 6× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 6× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 66 times in total; 6 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- D F#m AIV → vi F#mVI → iVI → i ×6
- Bm F#m Aii → vi F#miv → iminor plagal ×2
- C#m F#m Aiii → vi F#mv → inatural-minor cadence ×2
The move to watch is D → F#m, heard 6 times. From the F#m side it is VI → i (VI → i: falls a half step into home); from the A side it reads IV → 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over B, 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 F#m, the song gives away its key from the very first bar. F#m, C#m, B, A carry the song: vi–iii–V/V–I relative to A, i–v–IV–III relative to F#m. B adds a moment of surprise: secondary dominant V/V — leads to E. Keep an ear on D → F#m (IV → vi in A, VI → i in F#m): VI → i — falls a half step into home. The final chord is B; 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.
Emrah Karaduman - Sevmek Yok (Aleyna Tilki) 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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