Birileri - Paralel Bir Evrende - Chord

Key A major – F# minor Chords A, Bm, D, Dm, E, F#m, G Easy key G (capo 2)

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Capo 0

A  A  D  Dm

A
Uzaklarda bir yerlerde
                 D
Paralel bir evrende
                    Dm
Sen ve ben çok önceden
                     A
Tanışmış olabilir miyiz

Ellerim ellerinde
                  D
Bir eylül gündüzünde
               Dm
Bulutlar üzerinde
                    Bm
Uyanmış olabilir miyiz

Bm    E         A               F#m         Bm
Ne mümkün yanındayken başka bir dünya düşlemek
           E       A
Orası en mutlu olduğum yer benim
Bm             E          A             F#m
 Zilyonlarca gezegen içinden mavisi en çok olana geldim
Bm          Dm
Yüzmeyi gözlerinde öğrendim

A  A  D  Dm

A                                     D
Işıklarla süslenmiş görkemli bir bahçede
                    Dm
Uzanıp çimenler üstüne
                        A
İçimizden bir dilek tutsak

Akşam yemeğinden önce
                  D
Yaktığımız o mumları
                 Dm
Söndürüp bir kez daha
                   A    G  Bm
Birbirimize ait olsak

Bm    E          A               F#m        Bm
Ne mümkün yanındayken başka bir dünya düşlemek
           E       A
Orası en mutlu olduğum yer benim
Bm             E          A             F#m
 Zilyonlarca gezegen içinden mavisi en çok olana geldim
Bm          Dm
Yüzmeyi gözlerinde öğrendim

A                 F#m
Ah yine hayal görüyorum galiba
A             F#m             Bm
Gönderilmek korkutuyor gerçek dünyaya
          D
Onsuz bir diyara
Bm             E   D   A
Dönmek istemiyorum

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Birileri - Paralel Bir Evrende Tabs

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Harmony analysis

Birileri – Paralel Bir Evrende: key and chord analysis

The song opens on A and ends on A. 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: to us the song feels closer to the A major side because it both starts and finishes on A and A is heard 18 times against 6 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

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	18×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	12×
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	8×
iv	Dm	Minor iv — borrowed from the parallel minorborrowed chord	D · F · A	8×
V	E	Dominant — strongest pull home	E · G# · B	7×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	6×
bVII	G	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	G · B · D	1×
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#	6×
bII	G	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	G · B · D	1×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	18×
iv	Bm	Subdominant — moves away from home	B · D · F#	12×
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	8×
vi	Dm	Chromatic colour chordoutside the key	D · F · A	8×
VII	E	Subtonic — steps back to the tonic	E · G# · B	7×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 60 times in total; 5 of them sit naturally inside the shared scale. Dm, G are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Dm A Aiv → Iminor plagal F#mvi → III ×7
Bm E Aii → Vii → V F#miv → VII ×7
E A AV → Iauthentic cadence F#mVII → III ×6
D A AIV → Iplagal cadence F#mVI → III ×1

The move to watch is Dm → A, heard 7 times. From the A side it reads iv → I (minor plagal: a bittersweet arrival with a borrowed iv); from the F#m side it is vi → III. 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 A, land on A, C#, E — 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
On Dm, follow the chord's notes (D · F · A) 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

The song's harmonic story

Starting on A, the song gives away its key from the very first bar. The backbone is A, Bm, D, Dm — I–ii–IV–iv from the A side, III–iv–VI–vi from the F#m side. Dm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Dm → A (iv → I in A, vi → III in F#m): minor plagal — a bittersweet arrival with a borrowed iv. It closes on A, letting the A side have the last word.

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.