Baturalp - Güneşin Batıdan Doğduğu Gün - Chord

Key A major – F# minor Chords A, Dmaj7, Bm, F#m Easy key G (capo 2)

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Capo 0

A

Dmaj7              A
Hiçbir şey kalmadı içimde
Dmaj7                 A
Desem yalan olur, çürüyen kalbim senin
Dmaj7                  A
Kaçmak istedim bu şehirden
   Dmaj7          A
Ne fark eder aklımdayken sen

                Bm
Gün doğarsa bir gün batıdan
  F#m        A
Sonumuz olur kurtulamam sensiz
                Bm
Ama benim yolum seni yakar
  F#m          A
Olmalı bahar senin yolun bensiz

Dmaj7   A

Dmaj7              A
Efil efil essen tekrar nefesimde
Dmaj7                  A
Kokunla sarhoş olup savrulsam teninde
Dmaj7                      A
Kaçmak istedim her gece senden
   Dmaj7          A
Ne fark eder aklımdayken sen

                Bm
Gün doğarsa bir gün batıdan
  F#m        A
Sonumuz olur kurtulamam sensiz
                Bm
Ama benim yolum seni yakar
  F#m          A
Olmalı bahar senin yolun bensiz

End of song Play again?

Baturalp - Güneşin Batıdan Doğduğu Gün Tabs

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Harmony analysis

Baturalp – Güneşin Batıdan Doğduğu Gün: 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 14 times against 4 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	14×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	4×
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#	—
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	9×
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	4×
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#	4×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	14×
iv	Bm	Subdominant — moves away from home	B · D · F#	4×
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#	—
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	9×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 31 times in total; 4 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

Dmaj7 A AIVmaj7 → Iplagal cadence F#mVImaj7 → III ×9
Bm F#m Aii → vi F#miv → iminor plagal ×4

The move to watch is Dmaj7 → A, heard 9 times. From the A side it reads IVmaj7 → I (plagal cadence: the soft 'amen' ending); from the F#m side it is VImaj7 → 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 Dmaj7, land on D, F#, A — 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.

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
3 semitones up

The song's harmonic story

Starting on A, the song gives away its key from the very first bar. The backbone is A, Dmaj7, Bm, F#m — I–IVmaj7–ii–vi from the A side, III–VImaj7–iv–i from the F#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dmaj7 → A (IVmaj7 → I in A, VImaj7 → III in F#m): plagal cadence — the soft 'amen' ending. 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.