Ebru Gündeş - Bir Çift Göz Norm Ender - Chord

Key A major – F# minor Chords F#m, E, Dmaj7, C#7 Easy key G (capo 2)

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Capo 0

F#m  E  Dmaj7  C#7
x2

F#m
Tutuklu kalmışım, nakışa benzeyen mühürlü gözlerinde

En içli şarkılarla bir rüyaya dalmışım
E
Nafile, avunamam ki hiçbir sazın bam teliyle

Unutamam ki, her nefes bu kalbe adını yazmışım
Dmaj7
Gittiğinde korkular hafızamda yer etmiş

Ve yokluğunda her bir duygu kursağımda birikmiş
C#7
Akreple yelkovanı hayalinle yürüttüm

Ben içimdeki seni özleminle daha da büyüttüm

F#m
Dalınca maziye bir sen kalırsın özümde

Güzel yüzün ve hoş seda... "Geçmişe dair."
E
Bakınca hep yarım, bu son değil, bu ayrılık

Yakışmamış bu boş veda... "Her günü kahir."
Dmaj7
Ve şimdi dört duvar, adınla sarhoşum

Ve her satırda çağlayan bu kalp... "Bir deli şair."
C#7
Gel, etme sevdiğim, bu hasret bize tuzak

Dudaklarından ayrı her mesafe bana uzak!

F#m                         E
Bir gelsen, bir görsen sersefil hâlimi
    Dmaj7              C#7
Her yerde hüzün var, hayalin yetmiyor
      F#m                E
Bu başka, bu aşka hiçbir söz yetmiyor
      Dmaj7                C#7
Bu dünyayı verseler, bir çift göz etmiyor
      F#m
Bi gelsen...

F#m
Umuda yolculuk bu; gözlerinde beklemek

Ve depresif düşünceler sol yanımdan akın eder
E
Kimselerde huzur yok, sanki başka bir memleket

Sokaklarında, caddelerinde sürekli bir kara haber
Dmaj7
Dostlarım da sarmıyor; dillerinde çelişki

Onların da aşk dediği tek gecelik ilişki
C#7
Neslimiz mi tükenmiş, bak hiçbir çare bulamadım

Ve kalmamış bir insanoğlu; ben bu devre uyamadım

F#m
Dalınca maziye bir sen kalırsın özümde

Güzel yüzün ve hoş seda... "Geçmişe dair."
E
Bakınca hep yarım, bu son değil, bu ayrılık

Yakışmamış bu boş veda... "Her günü kahir."
Dmaj7
Ve şimdi dört duvar, adınla sarhoşum

Ve her satırda çağlayan bu kalp... "Bir deli şair."
C#7
Gel, etme sevdiğim, bu hasret bize tuzak

Dudaklarından ayrı her mesafe bana uzak!

F#m                         E
Bir gelsen, bir görsen sersefil hâlimi
    Dmaj7              C#7
Her yerde hüzün var, hayalin yetmiyor
      F#m                E
Bu başka, bu aşka hiçbir söz yetmiyor
      Dmaj7                C#7
Bu dünyayı verseler, bir çift göz etmiyor
      F#m
Bi gelsen...

End of song Play again?

Ebru Gündeş - Bir Çift Göz Norm Ender Tabs

NotesX

Harmony analysis

Ebru Gündeş – Bir Çift Göz Norm Ender: key and chord analysis

The song opens on F#m and ends on F#m. 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)
#7 = E# (harmonic-minor leading tone from the V chord)

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, F#m is heard 11 times while A never appears and the major V chord points straight at F#m. 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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
V7/vi	C#7	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G# · B	9×
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	9×
V	E	Dominant — strongest pull home	E · G# · B	9×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	11×
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#	11×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
iv	Bm	Subdominant — moves away from home	B · D · F#	—
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V7	C#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G# · B	9×
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	9×
VII	E	Subtonic — steps back to the tonic	E · G# · B	9×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 38 times in total; 3 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C#7 is V7/vi, a secondary dominant heading for F#m.

Chord movement

C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×9

The move to watch is C#7 → F#m, heard 9 times. From the F#m side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the A side it reads V7/vi → vi (secondary resolution: C#7 resolves a fourth up to F#m). 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#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — 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.
When C#7 comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.

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 F#m, the song gives away its key from the very first bar. The chords that keep coming back are F#m, E, Dmaj7, C#7; read them as vi–V–IVmaj7–V7/vi in A or i–VII–VImaj7–V7 in F#m. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C#7 → F#m (V7/vi → vi in A, V7 → i in F#m): harmonic-minor cadence — the major V resolves dramatically. Ending on F#m, the song seals F#m 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.