Sibel Can - Hançer (Kenan Doğulu) - Chord

Key A major – F# minor Chords C#m, F#m, Bm, D, C#, F#, G Easy key C

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Capo 0

F#m  C#m  D  C#m
F#m  C#m  D  Bm  C#m

F#m                   C#m
Terk edip gittiğinden beri
                     F#m
Kalbime lokma aşk girmedi
           F#         Bm
Sahipsiz kaldım yalan gibi
D                  C#m
Bozgunum senden bile deli
 
C#m
Yandım canın benim gibi
                         F#m
Yaşarken öldün mü mahkum gibi
           F#        Bm
Hasretin büyür yüreğimde
D                 C#m
Paslı kırık hançer gibi
 
F#m    C#m   D                    C#m
Kader, kader sen bize nazik davranmadın
F#m    C#m   D       Bm        C#m
Kader, kader herkese eşit yazılmadın
F#m    C#m   D                    C#m
Hayat, hayat sen bize nazik davranmadın
F#m    C#m   D        Bm        C#m
Hayat, hayat herkese eşit yaklaşmadın
 
F#m                  C#m
Vazgeçip gittiğinden beri
                     F#m
Kalbime tatlı söz değmedi
           F#       Bm
Sessizim sönmüş mum gibi
D                C#m
Kalır paslı hançer izi
 
C#m
Tenim unutur mu ellerini
                        F#m
Gönlüm bırakmıyor sevmişleri
        F#         Bm
Yavaş yavaş yaktın beni
D                 C#m
Zehirli bir hançer gibi

F#m    C#m   D                    C#m
Kader, kader sen bize nazik davranmadın
F#m    C#m   D       Bm        C#m
Kader, kader herkese eşit yazılmadın
F#m    C#m   D                    C#m
Hayat, hayat sen bize nazik davranmadın
F#m    C#m   D        Bm        C#m
Hayat, hayat herkese eşit yaklaşmadın

F#m            Bm
İçin için büyüyor fırtınam çığ gibi
G        C#         F#m
Daha çok kanatıyor aşk sancıları
                  Bm
Bizim için çalıyor yalnızlık çanları
G        C#         F#m
Daha bir ağlatıyor aşk şarkıları
 
Bm          C#         F#m
Böyle hüzne can mı dayanır
Bm          C#         F#m
Öyle bakma kalp çok kırılır
Bm          C#         F#m
Böyle hüzne can mı dayanır
Bm          C#         F#m
Öyle gitme kalp çok yıpranır

End of song Play again?

Sibel Can - Hançer (Kenan Doğulu) Tabs

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Harmony analysis

Sibel Can – Hançer (Kenan Doğulu): key and chord analysis

The song opens on F#m and ends on F#m. 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)
#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 both starts and finishes on F#m, F#m is heard 23 times while A never appears 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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
ii	Bm	Supertonic — prepares the dominant	B · D · F#	15×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	28×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	6×
IV	D	Subdominant — moves away from home	D · F# · A	14×
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	23×
V/ii	F#	Secondary dominant V/ii — leads to Bmsecondary dominant	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#	23×
V/iv	F#	Secondary dominant V/iv — leads to Bmsecondary dominant	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	—
iv	Bm	Subdominant — moves away from home	B · D · F#	15×
v	C#m	Minor dominant — soft pull	C# · E · G#	28×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	6×
VI	D	Submediant — warm colour	D · F# · A	14×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 92 times in total; 4 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# is V/vi, a secondary dominant heading for F#m. F# acts as a secondary dominant, briefly pointing at another chord of the key. G is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C#m F#m Aiii → vi F#mv → inatural-minor cadence ×16
C# F#m AV/vi → vi F#mV → iharmonic-minor cadence ×6
Bm C# Aii → V/vi F#miv → Viv → V ×4

The move to watch is C#m → F#m, heard 16 times. From the F#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the A side it reads iii → 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#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
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.
When C# comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.
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

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. C#m, F#m, Bm, D carry the song: iii–vi–ii–IV relative to A, v–i–iv–VI relative to F#m. C# is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. Ending on F#m, the song seals F#m 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.