Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Ercüment Vural - Rüyalar (Yeni) - Chord
Key Db major – Bb minor Chords Bbm7, Ebm7, Gb, Ab, F7, Dbmaj7, Bbm, Bb7 Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Bbm Gb Ab Bbm7 Gb Ab Rüyalara daldım senin için Bbm7 Gb Ab Hatıralar topladım bir sürü Bbm7 Gb Ab Kapılar, odalar açtım yavaşça Bbm7 Gb Ab Ne yaptıysam ah kapatamadım Ebm7 Bbm7 Rüyalara daldım senin için Ebm7 Bbm7 Seni aradım her yerde Ebm7 Bbm7 Tuhaf bir telaşım vardı üstümde Gb F7 Kaybettim sandım seni Bbm7 Ebm7 F7 Rüyalar rüyalar ahh bu rüyalar Bbm7 Ebm7 F7 Geceler bitmez sensiz rüyalar Bbm7 Ebm7 Ab Dbmaj7 Aklımı çeler, koynuma girer Gb Ebm7 Ab Dbmaj7 Kokunla yandığım bitmez rüyalar Bb7 Ebm7 Ab Dbmaj7 Şeytana uyar ah koynuma girer Gb Ebm7 F7 Bbm7 Canına yandığım sonsuz rüyalar
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Ercüment Vural - Rüyalar (Yeni) Tabs
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Harmony analysis
Ercüment Vural – Rüyalar (Yeni): key and chord analysis
The song opens on Bbm and ends on Bbm7. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
- #7 = A (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 Bb minor side because it both starts and finishes on Bbm, Bbm is heard 13 times against 3 for Db and the major V chord points straight at Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 |
|---|---|---|---|---|
| Imaj7 | Dbmaj7 | Tonic — home | Db · F · Ab · C | 3× |
| ii7 | Ebm7 | Supertonic — prepares the dominant | Eb · Gb · Bb · Db | 9× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V7/vi | F7 | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C · Eb | 4× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 8× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 8× |
| vi7 | Bbm7 | Relative minor — the melancholy side | Bb · Db · F · Ab | 11× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 2× |
| V7/ii | Bb7 | Secondary dominant V/ii — leads to Ebmsecondary dominant | Bb · D · F · Ab | 1× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bbm7 | Tonic — home | Bb · Db · F · Ab | 11× |
| i | Bbm | Tonic — home | Bb · Db · F | 2× |
| V7/iv | Bb7 | Secondary dominant V/iv — leads to Ebmsecondary dominant | Bb · D · F · Ab | 1× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| IIImaj7 | Dbmaj7 | Relative major — the bright side | Db · F · Ab · C | 3× |
| iv7 | Ebm7 | Subdominant — moves away from home | Eb · Gb · Bb · Db | 9× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V7 | F7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C · Eb | 4× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 8× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 8× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 8 different chords appear 46 times in total; 6 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F7 is V7/vi, a secondary dominant heading for Bbm. Bb7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×5
- F7 Bbm7 DbV7/vi → vi7secondary resolution BbmV7 → i7harmonic-minor cadence ×4
- Ab Bbm7 DbV → vi7deceptive cadence BbmVII → i7Aeolian arrival ×4
- Ab Dbmaj7 DbV → Imaj7authentic cadence BbmVII → IIImaj7 ×3
- Ebm7 Bbm7 Dbii7 → vi7 Bbmiv7 → i7minor plagal ×3
- Ebm7 F7 Dbii7 → V7/vi Bbmiv7 → V7iv → V ×3
The move to watch is Gb → Ab, heard 5 times. From the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- When F7 comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.
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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Bbm; the ear learns where home is within a second. The chords that keep coming back are Bbm7, Ebm7, Gb, Ab; read them as vi7–ii7–IV–V in Db or i7–iv7–VI–VII in Bbm. F7 is the interesting twist: in Db it is a chromatic chord (V7/vi), while in Bbm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Gb → Ab (IV → V in Db, VI → VII in Bbm): VI → VII — the rising step that heads for the tonic. The final chord is Bbm7; the ear comes to rest in Bbm.
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.
Ercüment Vural - Rüyalar (Yeni) 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: Ercüment VuralMusic: Ercüment Vural
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