Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Mavi Solman - Sadece Rüyaydın - Chord
Key C major – A minor Chords C, Em, F, Am, Dm Difficulty already in its easiest key
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Key: C | Am
Capo: 0
C Em Am F C Dm Em F (İntro kapanış) C Em Bi rüyadayım bedenim kayıp F Am C Em F Altımda bi kayık kürek çekiyorum sana doğru C Em Am F (Tüm ara sözler bu döngü ile devam eder) Ediyo hayalin benim için tam Buna ne şüphen ne de benim için çaban olsun Sana demiyorum benim için kal Onun için git ya da herkesin istediği olsun Ben de biliyorum böylesi daha iyi Ölesiye aşık ve rüyamda sahip Gece yarıları bize ait Ama uyandığımda anlıyorum C Em Am F Saadece rüyaydıııın C Em Am F Ben sensiz uyandııııım C Em Am F Saadece rüyaydıııın C Dm Em F Ben sensiz uyandıııım Biliyorum sana sığınmak yanlış bu çok zor Kalbine sığmak Yarın seni duymak istediğime emin değilim Aklına uymak Çekincek bi şeyler var Edince elde, görmezsin Sadece rüyaydın Ben sensiz uyandım Sadece rüyaydın Ben sensiz uyandım C Em Bi rüyadayım bedenim kayıp Am C Altımda bi kayık kürek çekiyorum sana doğru C Em Bi dünyadayım küreklerim kayıp Am C Altımda bi kayık nefes alıyorum sana doğru
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Mavi Solman - Sadece Rüyaydın Tabs
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Harmony analysis
Mavi Solman – Sadece Rüyaydın: key and chord analysis
The song opens on C and ends on C. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C major side because it both starts and finishes on C and C is heard 13 times against 8 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to C or to Am; 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 | C | Tonic — home | C · E · G | 13× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 2× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 11× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 9× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 8× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 8× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 13× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 2× |
| v | Em | Minor dominant — soft pull | E · G · B | 11× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 9× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 43 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
- F C CIV → Iplagal cadence AmVI → III ×8
- Em Am Ciii → vi Amv → inatural-minor cadence ×7
- F Am CIV → vi AmVI → iVI → i ×1
The move to watch is F → C, heard 8 times. From the C side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Am side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening C lays a solid floor for everything that follows. C, Em, F, Am carry the song: I–iii–IV–vi relative to C, III–v–VI–i relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → C (IV → I in C, VI → III in Am): plagal cadence — the soft 'amen' ending. The final chord is C; the ear comes to rest in C.
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.
Mavi Solman - Sadece Rüyaydın 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: Mavi SolmanMusic: Mavi
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