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)
Ayfer Vardar - Sen Yarim İdun - Chord
Key A major – F# minor Chords D, E, C#m, Dmaj7, A Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
Dmaj7 C#m Dmaj7 C#m
Sen gülum idun, sevduğum idun
Dmaj7 E D E
Söz vermiştuk ölümüne sen benum idun
C#m D E
Anlumuza yazildi yar bu kara yazi
E D A
Söz vermuştuk tutamaduk biz sözumuzi
C#m D E D
Bedduam olsun beni hiç unutmayasun
E D A
Ölene kadar sevduğum yarsız kalasun
C#m Dmaj7 E D
Unutamam artık seni hep seveyirum
E D A
Senun içun senun içun yar ölüyirum
Dmaj7 C#m Dmaj7 C#m
Sen yarum idun, sevdalim idun
Dmaj7 E D E
Ölesiye sevdum seni herşeyum idun
C#m D E D
Kader boyle ayirdi bak yollarumuzi
E D A
Ne yapalum kuramadık yar yuvamuzi
C#m D E D
Görüyorum bu aşk beni senide yakar
E D A
Ayri duştuk senunle yar sonsuza kadar
C#m D E D
O güzel gözlerune yar doyamayirum
E D A
Artık yeter senun içun ağlamayirum
End of song Play again?
Ayfer Vardar - Sen Yarim İdun Tabs
NotesX
Harmony analysis
Ayfer Vardar – Sen Yarim İdun: key and chord analysis
The song opens on Dmaj7 and ends on A. 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 A major side because it comes to rest on A and A is heard 6 times while F#m never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | 6× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 10× |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 18× |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 7× |
| V | E | Dominant — strongest pull home | E · G# · B | 16× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| 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# | — |
| 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 | 18× |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 7× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 16× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 57 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- D E AIV → VIV → V F#mVI → VIIVI → VII ×12
- D A AIV → Iplagal cadence F#mVI → III ×6
- Dmaj7 E AIVmaj7 → VIV → V F#mVImaj7 → VIIVI → VII ×3
The move to watch is D → E, heard 12 times. From the A side it reads IV → V (IV → V: the lift that builds tension before home); from the F#m side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 D, land on D, F#, A — 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.
- Over C#m, land on C#, E, 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 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Dmaj7; the ear learns where home is within a second. D, E, C#m, Dmaj7 carry the song: IV–V–iii–IVmaj7 relative to A, VI–VII–v–VImaj7 relative to F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → E (IV → V in A, VI → VII in F#m): IV → V — the lift that builds tension before home. Ending on A, the song seals A 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.
Ayfer Vardar - Sen Yarim İdun 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: Yasemin Yıldız ÇalıkıranMusic: Yasemin Yıldız ÇalıkıranArrangement: Serdar Aydın
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