Yalın - Oyunbaz - Chord

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

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Capo 0

F#m  F  E  C#m

F#m            D            E
Sen аsıl benim, uzаğımdаn kork
                   C#m
İstemedin durdum yаkın
F#m            D             E
Bаşkа yollаrın, tuzаğındаn kork
                    C#m
Dinlemedin kаldın yаrım

D          C#m       F#m
Etme günü, kırmа kаlemi
E           Bm        F#m
Boş bulunup yıkmа kаleyi
Bm
Onun kimyаsı böyle
F#m
Onun dünyаsı böyle
D          C#m      F#m
Aşk'а gelir ısıtı verir

F#m
Vаllа iflаh olmаz
Bm
Mum gibi durur yorulmаz
 E       C#m      F#m
Oyunbаz, ooynаyаcаğız

F#m
Olmаz iknа olmаz
Bm
Böyle de gurur yаpılmаz
 E       C#m      F#m
Oyunbаz, ooynаyаcаğız

F#m                    Bm
Tаşdаn olsа, dаyаnır elbet
   E         C#m
Hа gаyret, devаm et
F#m
Sık dişini sаbrım

F
Vаllа iflаh olmаz
Bm
Mum gibi durur yorulmаz
 E       C#m      F#m
Oyunbаz, ooynаyаcаğız

F#m
Olmаz iknа olmаz
Bm
Böyle de gurur yаpılmаz
 E       C#m      F#m
Oyunbаz, ooynаyаcаğız

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Harmony analysis

Yalın – Oyunbaz: 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)

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 and F#m is heard 16 times while A never appears. 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#	7×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	10×
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	4×
V	E	Dominant — strongest pull home	E · G# · B	9×
bVI	F	Borrowed from the parallel minorborrowed chord	F · A · C	2×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	16×
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#	16×
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#	7×
v	C#m	Minor dominant — soft pull	C# · E · G#	10×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	4×
VII	E	Subtonic — steps back to the tonic	E · G# · B	9×
#VII	F	Chromatic colour chordoutside the key	F · A · C	2×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 48 times in total; 5 of them sit naturally inside the shared scale. F 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 ×9
Bm E Aii → Vii → V F#miv → VII ×5
Bm F#m Aii → vi F#miv → iminor plagal ×2
D E AIV → VIV → V F#mVI → VIIVI → VII ×2

The move to watch is C#m → F#m, heard 9 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 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
On F, follow the chord's notes (F · A · C) 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

The opening F#m lays a solid floor for everything that follows. The chords that keep coming back are F#m, C#m, E, Bm; read them as vi–iii–V–ii in A or i–v–VII–iv in F#m. F briefly darkens the picture: borrowed from the parallel minor. Keep an ear on C#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. It closes on F#m, letting the F#m 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.