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)
Gökhan Tepe - Veda Makamı - Chord
Key A major – F# minor Chords C#m, D, Bm, Dmaj7, F#m, E, F#7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
C#m Bm C#m
Nerede telli duvaklı evvel zaman aşkları
C#m Dmaj7 C#m
Nerede o allı güllü sevdanın şarkıları
C#m Bm C#m
Nerede o ömür boyu huzur veren dostluklar
C#m Dmaj7 C#m
Güneşin vedasıyla düşen yapraklar
C#m Bm C#m Dmaj7
Yanaklara mendil olan omuzlara ne oldu
C#m F#m
Samanlıkta seyran olan gönüllere ne oldu
D Bm
Herkes kalbini yormuş sevmeleri unutup
D Bm C#m
Aşklar sahile vurmuş şişe içinde mektup
F#m
Şimdi siyah beyaz filmler gibi
D
Güzelim sevdalar da bitti
C#m F#7 D
Özlemler hayaller veda makamı
Bm E D C#m
Şarkıların canı cennete gitti
F#m
Şimdi siyah beyaz filmler gibi
D
Güzelim sevdalar da bitti
E F#7 D
Özlemler hayaller veda makamı
Bm E D C#m
Şarkıların canı cennete gitti
End of song Play again?
Gökhan Tepe - Veda Makamı Tabs
NotesX
Harmony analysis
Gökhan Tepe – Veda Makamı: key and chord analysis
The song opens on C#m and ends on C#m. 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 F#m is heard 3 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 | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 7× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 15× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 8× |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 3× |
| V | E | Dominant — strongest pull home | E · G# · B | 3× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 3× |
| 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 |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 3× |
| 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 | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 7× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 15× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 8× |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 3× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 3× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 41 times in total; 6 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
- C#m F#m Aiii → vi F#mv → inatural-minor cadence ×3
- Bm E Aii → Vii → V F#miv → VII ×2
- D E AIV → VIV → V F#mVI → VIIVI → VII ×1
The move to watch is C#m → F#m, heard 3 times. From the F#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the A side it reads iii → vi. 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#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over D, 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening C#m lays a solid floor for everything that follows. The backbone is C#m, D, Bm, Dmaj7 — iii–IV–ii–IVmaj7 from the A side, v–VI–iv–VImaj7 from the F#m side. F#7 adds a moment of surprise: secondary dominant V/ii — leads to Bm. Keep an ear on C#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. The final chord is C#m; the ear comes to rest in A.
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.
Gökhan Tepe - Veda Makamı 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: Hakkı Yalçın
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