Mor ve Ötesi - Kış Geliyor - Chord

Key A major – F# minor Chords Bm, F#m, E, C#m, A, G, F Easy key C

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Capo 0

F#m   E   Bm   Bm  

F#m                     C#m        Bm
Kış geliyor, bağıra çağıra, sevmem ki
F#m                   C#m        Bm
Kim geliyor, yanıma yanıma, bilmez ki    
A          G       F#m         F  E
Kış ortasında kaç kere yakar güneş

F#m                     C#m        Bm
Kış geliyor, bağıra çağıra, sevmem ki 
F#m                   C#m       Bm      E
Kim geliyor, yanıma yanıma, durmaz ki, durmaz ki

F#m   E        Bm    
Yeni rüyam da güneşimle soldu
F#m     E    Bm    
Yeni adamla yeni kadın doğmadan zordu    
C#m  Bm    C#m       Bm 
Ayna ayna, sihirli ayna
F#m    E        Bm
Neler söyledin bana

A           G      F#m         F    
Kış ortasında kaç kere doğar güneş

End of song Play again?

Mor ve Ötesi - Kış Geliyor Tabs

NotesX

Harmony analysis

Mor ve Ötesi – Kış Geliyor: key and chord analysis

The song opens on F#m and ends on F. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F# minor side because it opens on F#m and F#m is heard 10 times against 2 for A. 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	2×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	11×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	6×
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	—
V	E	Dominant — strongest pull home	E · G# · B	6×
bVI	F	Borrowed from the parallel minorborrowed chord	F · A · C	2×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	10×
bVII	G	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	G · B · D	2×
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#	10×
bII	G	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	G · B · D	2×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	2×
iv	Bm	Subdominant — moves away from home	B · D · F#	11×
v	C#m	Minor dominant — soft pull	C# · E · G#	6×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	—
VII	E	Subtonic — steps back to the tonic	E · G# · B	6×
#VII	F	Chromatic colour chordoutside the key	F · A · C	2×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 39 times in total; 5 of them sit naturally inside the shared scale. G, F are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bm F#m Aii → vi F#miv → iminor plagal ×5
E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×2
Bm E Aii → Vii → V F#miv → VII ×1

The move to watch is Bm → F#m, heard 5 times. From the F#m side it is iv → i (minor plagal: deep and melancholic); from the A side it reads ii → 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
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.
On G, follow the chord's notes (G · B · D) rather than the key's scale — it's a borrowed colour.

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#m; the ear learns where home is within a second. Bm, F#m, E, C#m carry the song: ii–vi–V–iii relative to A, iv–i–VII–v relative to F#m. G briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Bm → F#m (ii → vi in A, iv → i in F#m): minor plagal — deep and melancholic. Ending on F, 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.