Yalın - Yeniden - Chord

Key A major – F# minor Chords Bm, F#m, Dbm, Db, G, Abm, D Easy key C

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Capo 0

F#m
Yeniden yandı tüm ışıklar 
Bm                       Dbm       F#m
Yeniden nasıl parlıyor aşk gözlerinden 
                Bm    Dbm
İçimi eritiyor şimdiden 

F#m                               Bm  Dbm 
Sana saklamışım her şeyin güzelini ben
F#m                              Bm   Dbm 
Sevmeler sarılmalar şarkılar öpücükler 

F#m  
Bu yüzden koşarak kavuştuk 
Bm                    Dbm        F#m
Bu yüzden koptu son fırtına ikimizden 
                  Bm    Dbm
Yaz erken geliyor bu yüzden 

F#m                               Bm  Dbm 
Sana saklamışım her şeyin güzelini ben 
F#m                              Bm   Dbm 
Sevmeler sarılmalar şarkılar öpücükler 

D                     Bm                Db
Yıllardır bekliyor kalbine değmeyi bu cümleler 

F#m
Senin yanındır sarayım
                    Bm
Hadi öp uyandır sevgilim
               G
Masallar gibi güzel rüyalar gibi
Abm               Db
Yaşatır aşkım ikimizi

F#m
Senin yanındır sarayım
                  Bm
Hadi öp uyandır sevgilim
              G
Ah kaç asır sensizliğim
Abm             Db
Artık bekletme bizi

End of song Play again?

Yalın - Yeniden Tabs

NotesX

Harmony analysis

Yalın – Yeniden: key and chord analysis

The song opens on F#m and ends on Db. 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 opens on F#m, F#m is heard 10 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#	11×
iii	Dbm	Mediant — a tonic-family shade	Db · Fb · Ab	8×
V/vi	Db	Secondary dominant V/vi — leads to F#msecondary dominant	Db · F · Ab	3×
IV	D	Subdominant — moves away from home	D · F# · A	1×
V	E	Dominant — strongest pull home	E · G# · B	—
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	—
vii	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	2×

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	—
ii	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	2×
III	A	Relative major — the bright side	A · C# · E	—
iv	Bm	Subdominant — moves away from home	B · D · F#	11×
v	Dbm	Minor dominant — soft pull	Db · Fb · Ab	8×
V	Db	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Db · F · Ab	3×
VI	D	Submediant — warm colour	D · F# · A	1×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 37 times in total; 4 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 Db is V/vi, a secondary dominant heading for F#m. G is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Dbm F#m Aiii → vi F#mv → inatural-minor cadence ×7
Db F#m AV/vi → vi F#mV → iharmonic-minor cadence ×2
Bm Db Aii → V/vi F#miv → Viv → V ×1

The move to watch is Dbm → F#m, heard 7 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 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 Dbm, land on Db, Fb, Ab — the chord's own tones always sound right on strong beats.
When Db comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.
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
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The first chord is F#m; the ear learns where home is within a second. The backbone is Bm, F#m, Dbm, Db — ii–vi–iii–V/vi from the A side, iv–i–v–V from the F#m side. Db is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dbm → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. It closes on Db, letting the A side have the last word.

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.