Mor ve Ötesi - Yağmur Teşekkürler - Chord

Key C major – A minor Chords Fmaj7, E, Asus, Dm, Asus4, Em, Am, C … Difficulty already in its easiest key

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Capo 0

Asus   Asus   Fmaj7   E
    
     Asus4                                     Fmaj7                    E
Bir kez olsun bakabilsem gerçekten şaşırsam gerçekten tenim yansa güneşte
     Asus4                            Fmaj7             E    
Büyük harflerle aklıma kazınsa o an omzundan tutmuşum, gözlerine bakıyorum
            
Asus   Asus   Fmaj7   E 

   Asus                                Fmaj7            E
Bulutlar gitmesin, yağmur indirsin çözsün kirlerini, çözsün kirlerimi
   Asus                                  Fmaj7            E
Dudağının arasında küçük parıltılar, sözcük oyunları, sevgi sözcükleri

  Fmaj7   Em          Dm        Em             Fmaj7              D
Seni özlüyorum, imkânsız, seni arıyorum, imkânsız geri dönmek imkansız
   Am          E    C               Dm          Am           E   
Yağmur teşekkürler aşkın büyüsü ve geçmişten gelen bütün sesler
    C         Dm            G          Fmaj7
Gördüm ki çıkamazdın gölgesinden sırrının
   Dm    G   Asus4 
İmkansız aşkının

   Asus                               Fmaj7               E
Hayaller hayalmiş hiç durmuyor zaman ya bırak beni burada ya hapset hayatına
   Asus                                   Fmaj7             E       
Artık kabullendim, kötünün iyisindeyim yağmur saklasın, yağmur gizlesin

End of song Play again?

Mor ve Ötesi - Yağmur Teşekkürler Tabs

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Harmony analysis

Mor ve Ötesi – Yağmur Teşekkürler: key and chord analysis

The song opens on Asus and ends on E. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	2×
ii	Dm	Supertonic — prepares the dominant	D · F · A	4×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	1×
iii	Em	Mediant — a tonic-family shade	E · G · B	2×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	10×
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	11×
V	G	Dominant — strongest pull home	G · B · D	2×
VIsus4	Asus	Relative minor — the melancholy side	A · D · E	8×
VIsus4	Asus4	Relative minor — the melancholy side	A · D · E	3×
vi	Am	Relative minor — the melancholy side	A · C · E	2×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
Isus4	Asus	Tonic — home	A · D · E	8×
Isus4	Asus4	Tonic — home	A · D · E	3×
i	Am	Tonic — home	A · C · E	2×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	2×
iv	Dm	Subdominant — moves away from home	D · F · A	4×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	1×
v	Em	Minor dominant — soft pull	E · G · B	2×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	10×
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	11×
VII	G	Subtonic — steps back to the tonic	G · B · D	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 10 different chords appear 45 times in total; 8 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Dm G Cii → Vii → V Amiv → VII ×2
Dm Am Cii → vi Amiv → iminor plagal ×1

The move to watch is Dm → G, heard 2 times. From the Am side it is iv → VII; from the C side it reads ii → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Fmaj7, 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 Asus, land on A, D, E — the chord's own tones always sound right on strong beats.
When E comes, swap the scale's G for G#: 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The opening Asus lays a solid floor for everything that follows. The chords that keep coming back are Fmaj7, E, Asus, Dm; read them as IVmaj7–V/vi–VIsus4–ii in C or VImaj7–V–Isus4–iv in Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. The final chord is E; the ear comes to rest in C.

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.