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 - İlişkimiz Dengesiz - Chord
Key A major – F# minor Chords C#m7, Bm7, A7, F#7, F#m7, Dmaj7, E Easy key C
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Key: A | Gbm | F#m
Capo: 0
A7
Aşk sen bana, kırıldın mı küstün mü
C#m7 F#7
Söyle yoksa, nefretin sevgine üstün mü
Bm7
Ayrıldık mı haberim yok
C#m7 Bm7
O gün bugün mü, ördün mü
A7
İlmik ilmik nasıl kıydın
C#m7 F#m7
Gerçekten senin için öldüm mü
A7
Bensizken sen, yaralarını sardın mı
C#m7 F#7 Bm7
Gönlün bana, bi barışık bi dargın mı
C#m7
Söyle yoksa, onu odana aldın mı
Bm7 C#m7
Sardın mı, kokladın mı
F#m7
Bana baktığın gibi, derin derin baktın mı
C#m7 Dmaj7
İlişkimiz dengesiz
Belki biraz ilgisiz kaldım
C#m7 E
Ama uykumda bile seni sevdim
Bm7 C#m7
Sen bensiz rüyalara mı daldın
C#m7 Dmaj7
Ben sensiz kimsesiz
Şarkılarım cümlesiz kaldı
C#m7 E
Ama uykumda bile seni sevdim
Bm7 C#m7
Sen bensiz rüyalara mı daldın
End of song Play again?
Rıza Tamer - İlişkimiz Dengesiz Tabs
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Harmony analysis
Rıza Tamer – İlişkimiz Dengesiz: key and chord analysis
The song opens on A7 and ends on C#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 A major side because it opens on A and A is heard 3 times against 2 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| V7/IV | A7 | Secondary dominant V/IV — leads to Dsecondary dominant | A · C# · E · G | 3× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 6× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 12× |
| 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# | 2× |
| V | E | Dominant — strongest pull home | E · G# · B | 2× |
| vi7 | F#m7 | Relative minor — the melancholy side | F# · A · C# · E | 2× |
| V7/ii | F#7 | Secondary dominant V/ii — leads to Bmsecondary dominant | F# · A# · C# · E | 2× |
| 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 | 2× |
| V7/iv | F#7 | Secondary dominant V/iv — leads to Bmsecondary dominant | F# · A# · C# · E | 2× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| V7/VI | A7 | Secondary dominant V/VI — leads to Dsecondary dominant | A · C# · E · G | 3× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 6× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 12× |
| 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# | 2× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 2× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 29 times in total; 5 of them sit naturally inside the shared scale. A7, F#7 act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- F#7 Bm7 AV7/ii → ii7secondary resolution F#mV7/iv → iv7 ×2
- C#m7 F#m7 Aiii7 → vi7 F#mv7 → i7natural-minor cadence ×2
The move to watch is F#7 → Bm7, heard 2 times. From the A side it reads V7/ii → ii7 (secondary resolution: F#7 resolves a fourth up to Bm7); from the F#m side it is V7/iv → iv7. 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 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.
- Over A7, land on A, C#, E — 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
Starting on A7, the song gives away its key from the very first bar. The backbone is C#m7, Bm7, A7, F#7 — iii7–ii7–V7/IV–V7/ii from the A side, v7–iv7–V7/VI–V7/iv from the F#m side. A7 adds a moment of surprise: secondary dominant V/IV — leads to D. 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. Ending on C#m7, 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.
Rıza Tamer - İlişkimiz Dengesiz 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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