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)
Rıza Tamer - Bu Kadın Hiç Ağlar mı - Chord
Key A major – F# minor Chords F#m7, C#m7, Bm7, F#7, D7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m7
Kalbin hiç beni sordu mu
Bm7
Tek mi yaşıyorum ben acımızı
C#m7
Ya hiç sana soran oldu mu
F#m7
Gittin verdin düşmana açıklarımızı
F#m7
Doymadı yedirdim ömrümü
Bm7
İçemedim bi bardak çayınızı
C#m7
Gitmeden hesabı gördü mü
F#m7
Bi alamadığı kaldı zaten canımızı
F#m7 C#m7
Duyduğuma göre kalbinin kapısı açık kalınca beni düşürmüş yere
F#7 Bm7
Tenezzül edip eğilip almayınca, suç atma elaleme
C#m7 D7 F#m7
Bu ne yazgı bu ne töre gitti keyfine köle
F#m7
Bu kadın hiç ağlar mı, halimi görse eser mi rüzgar?
C#m7 F#7
Acımıda dağlar mı, kime anlatsam unut diyorlar
Bm7
Böyle bir aşk var mı?
C#m7 D7 F#m7
Yaşarken ölüme bu kadar yakın olan
F#m7 C#m7
Duyduğuma göre kalbinin kapısı açık kalınca beni düşürmüş yere
F#7 Bm7
Tenezzül edip eğilip almayınca, suç atma elaleme
C#m7 D7 F#m7
Bu ne yazgı bu ne töre gitti keyfine köle
F#m7
Bu kadın hiç ağlar mı, halimi görse eser mi rüzgar?
C#m7 F#7
Acımıda dağlar mı, kime anlatsam unut diyorlar
Bm7
Böyle bir aşk var mı?
C#m7 D7 F#m7
Yaşarken ölüme bu kadar yakın olan
End of song Play again?
Rıza Tamer - Bu Kadın Hiç Ağlar mı Tabs
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Harmony analysis
Rıza Tamer – Bu Kadın Hiç Ağlar mı: key and chord analysis
The song opens on F#m7 and ends on F#m7. 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 F# minor side because it both starts and finishes on F#m and F#m is heard 12 times while A never appears. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 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 | — |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 6× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 10× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IV7 | D7 | Chromatic colour chordoutside the key | D · F# · A · C | 4× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi7 | F#m7 | Relative minor — the melancholy side | F# · A · C# · E | 12× |
| V7/ii | F#7 | Secondary dominant V/ii — leads to Bmsecondary dominant | F# · A# · C# · E | 4× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | F#m7 | Tonic — home | F# · A · C# · E | 12× |
| V7/iv | F#7 | Secondary dominant V/iv — leads to Bmsecondary dominant | F# · A# · C# · E | 4× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 6× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 10× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI7 | D7 | Chromatic colour chordoutside the key | D · F# · A · C | 4× |
| 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). 5 different chords appear 36 times in total; 3 of them sit naturally inside the shared scale. F#7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F#7 Bm7 AV7/ii → ii7secondary resolution F#mV7/iv → iv7 ×4
- D7 F#m7 AIV7 → vi7 F#mVI7 → i7VI → i ×4
- C#m7 F#m7 Aiii7 → vi7 F#mv7 → i7natural-minor cadence ×2
The move to watch is F#7 → Bm7, heard 4 times. From the F#m side it is V7/iv → iv7; from the A side it reads V7/ii → ii7 (secondary resolution: F#7 resolves a fourth up to Bm7). 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 F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Bm7, 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is F#m7; the ear learns where home is within a second. F#m7, C#m7, Bm7, F#7 carry the song: vi7–iii7–ii7–V7/ii relative to A, i7–v7–iv7–V7/iv relative to F#m. F#7 adds a moment of surprise: secondary dominant V/ii — leads to Bm. Keep an ear on F#7 → Bm7 (V7/ii → ii7 in A, V7/iv → iv7 in F#m): secondary resolution — F#7 resolves a fourth up to Bm7. It closes on F#m7, letting the F#m 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.
Rıza Tamer - Bu Kadın Hiç Ağlar mı 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: Rıza TamerMusic: Rıza Tamer
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