Hemsaye - Bir Rüyanın Peşine - Chord

Key Eb major – C minor Chords Cm, Fm, Bb, Bm Easy key C (capo 3)

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Capo 0

Cm  Cm  Fm  Bb

   Cm                    Fm            Bb
Aralıkta dök denizi, mayısın da ortası güz
    Cm                       Fm             Bb
Bi' görün de ormana kaç, ormanın da gölgesi toz
    Cm              Fm          Bb           Cm
İncelir ışığında bi iz, kayıp aksi, düş de değil
             Fm         Bb           Cm
Hiç emin değilim, belki mavi belki değil
           Fm       Bb           Cm
Azalır yüzünüz, arkasından elleriniz
                Fm       Bb              Cm
Hatırımda her düğüm, hatırımda hepsi de giz

Cm  Cm  Fm  Bm

Tek bi yerde boş bırakıp, ruha ses verip kaçacak
Geç kalındı, yok kuğular
Geç değil de, kim gelecek
Yürümek; nereye? Başlayınca bitmiyor
Bir yüz hâlâ aynı anda, aynı yerde, aynı maalesef
Eelinde bir kafatası, anlatıyor bir şeyler
Sesiniz masal; kısacık, söyleyince bitmeyecek
Söylerim de aynı deniz, aynı sis, aynı gece
Peşine takılıp bi' rüyanın, öyle aklı selim
Uyanıp bilir miyim? Bak bu gerçek, bu da değil

End of song Play again?

Hemsaye - Bir Rüyanın Peşine Tabs

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Harmony analysis

Hemsaye – Bir Rüyanın Peşine: key and chord analysis

The song opens on Cm and ends on Bm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because it opens on Cm and Cm is heard 11 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	8×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	7×
bvi	Bm	Chromatic colour chordoutside the key	B · D · F#	1×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	11×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	11×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	8×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	7×
#vii	Bm	Chromatic colour chordoutside the key	B · D · F#	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 27 times in total; 3 of them sit naturally inside the shared scale. Bm step outside the scale as colour chords.

Chord movement

Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×7
Fm Bb Ebii → Vii → V Cmiv → VII ×7

The move to watch is Bb → Cm, heard 7 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. The chords that keep coming back are Cm, Fm, Bb, Bm; read them as vi–ii–V–bvi in Eb or i–iv–VII–#vii in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. It closes on Bm, letting the Eb 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.