Gökhan Türkmen - Rüya - Chord

Key A major – F# minor Chords Cm7, Dm7, Ebmaj7, Fm, Gm, Cm, Ab, Gm7 … Easy key F# (capo 3)

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Capo 0

Cm7  Ebmaj7  Cm7  Dm7

Gm7      Ebmaj7            Cm7
Her adım anladım seni bana bağladı
       Dm7
Adı mutluluktu ağladım
Gm7      Ebmaj7
Nerdesin bitmesin
         Cm7                  Dm7
Buraya kadarmış sevgilim, elveda diyen sen misin

Ebmaj7  Dm7   Cm7
Gitme   dur sakın
  Bbmaj7
Acıyor içim sensiz
Ebmaj7  Dm7  Cm7
Gitme   sevgilim
Bbmaj7            Dm
Mutlu olsan da bensiz

      Dm7
Belki ben de hata yaptım
                               F
Seni sevdim tek biran pişman olmadan
       Gm7          Ebmaj7
Çok düşündüm çok yalvardım
         Cm7
Tanrım alma canımı
            Dm7
Teniyle bir gün buluşmadan
      F           Dm7
Belki şimdi belki asla
           Gm7             G7  Cm7
Ya ölüm ya aşk istedim dudağınndan
   Ebmaj7
Uyuyorsam bırak lütfen
            Fm7
Sen kal aşk ben giderim
Cm7       Ebmaj7   Dm7
Buralardan sabah olmadan

-------------------------------

Cm       Ab                Fm
Her adım anladım seni bana bağladı
         Gm
Adı mutluluktu ağladım
Cm       Ab
Nerdesin bitmesin
         Fm                   Gm
Buraya kadarmış sevgilim, elveda diyen sen misin

Cm    Bb  Ab
Gitme dur sakın
Fm              Eb
Acıyor içim sensiz
Cm    Bb   Ab
Gitme sevgilim
Fm           Gm
Mutlu olsan da bensiz

   Gm
Belki ben de hata yaptım
                                  Bb
Seni sevdim tek biran pişman olmadan
      Cm               Ab
Çok düşündüm çok yalvardım
         Fm
Tanrım alma canımı
           Gm
Teniyle bir gün buluşmadan
      Bb          Gm
Belki şimdi belki asla
           Cm      C          Fm
Ya ölüm ya aşk istedim dudağından

Uyuyorsam bırak lütfen
            Bbm
Sen kal aşk ben giderim
Ab         Fm      Gm
Buralardan sabah olmadan

End of song Play again?

Gökhan Türkmen - Rüya Tabs

NotesX

Harmony analysis

Gökhan Türkmen – Rüya: key and chord analysis

The song opens on Cm7 and ends on Gm. 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: we can't honestly pick a side here — the song moves freely between A major and F# minor. Try reading the chords both ways and see which feels more like home to you.

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	—
bII	Bb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Bb · D · F	4×
bIImaj7	Bbmaj7	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Bb · D · F · A	2×
bii	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	1×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
biii7	Cm7	Chromatic colour chordoutside the key	C · Eb · G · Bb	9×
biii	Cm	Chromatic colour chordoutside the key	C · Eb · G	6×
bIII	C	Borrowed from the parallel minorborrowed chord	C · E · G	1×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
III	C#	Chromatic colour chordoutside the key	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	—
iv7	Dm7	Minor iv — borrowed from the parallel minorborrowed chord	D · F · A · C	9×
iv	Dm	Minor iv — borrowed from the parallel minorborrowed chord	D · F · A	1×
#IVmaj7	Ebmaj7	Chromatic colour chordoutside the key	Eb · G · Bb · D	8×
#IV	Eb	Chromatic colour chordoutside the key	Eb · G · Bb	1×
V	E	Dominant — strongest pull home	E · G# · B	—
bvi	Fm	Chromatic colour chordoutside the key	F · Ab · C	7×
bVI	F	Borrowed from the parallel minorborrowed chord	F · A · C	2×
bvi7	Fm7	Chromatic colour chordoutside the key	F · Ab · C · Eb	1×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	—
bvii	Gm	Chromatic colour chordoutside the key	G · Bb · D	7×
bvii7	Gm7	Chromatic colour chordoutside the key	G · Bb · D · F	4×
bVII7	G7	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	G · B · D · F	1×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—
VII	Ab	Chromatic colour chordoutside the key	Ab · C · Eb	6×

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	—
bii	Gm	Chromatic colour chordoutside the key	G · Bb · D	7×
bii7	Gm7	Chromatic colour chordoutside the key	G · Bb · D · F	4×
bII7	G7	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	G · B · D · F	1×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
II	Ab	Chromatic colour chordoutside the key	Ab · C · Eb	6×
III	A	Relative major — the bright side	A · C# · E	—
#III	Bb	Chromatic colour chordoutside the key	Bb · D · F	4×
#IIImaj7	Bbmaj7	Chromatic colour chordoutside the key	Bb · D · F · A	2×
#iii	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	1×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
#iv7	Cm7	Chromatic colour chordoutside the key	C · Eb · G · Bb	9×
#iv	Cm	Chromatic colour chordoutside the key	C · Eb · G	6×
#IV	C	Chromatic colour chordoutside the key	C · E · G	1×
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	—
vi7	Dm7	Chromatic colour chordoutside the key	D · F · A · C	9×
vi	Dm	Chromatic colour chordoutside the key	D · F · A	1×
#VImaj7	Ebmaj7	Chromatic colour chordoutside the key	Eb · G · Bb · D	8×
#VI	Eb	Chromatic colour chordoutside the key	Eb · G · Bb	1×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—
#vii	Fm	Chromatic colour chordoutside the key	F · Ab · C	7×
#VII	F	Chromatic colour chordoutside the key	F · A · C	2×
#vii7	Fm7	Chromatic colour chordoutside the key	F · Ab · C · Eb	1×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 17 different chords appear 70 times in total; 0 of them sit naturally inside the shared scale. Dm7, Bb, Bbmaj7, F, Dm, G7, C are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G7 Cm7 AbVII7 → biii7secondary resolution F#mbII7 → #iv7 ×1

The move to watch is G7 → Cm7, heard once. From the A side it reads bVII7 → biii7 (secondary resolution: G7 resolves a fourth up to Cm7); from the F#m side it is bII7 → #iv7. 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
On Dm7, follow the chord's notes (D · F · A · C) 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 down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The first chord is Cm7; the ear learns where home is within a second. Cm7, Dm7, Ebmaj7, Fm carry the song: biii7–iv7–#IVmaj7–bvi relative to A, #iv7–vi7–#VImaj7–#vii relative to F#m. Dm7 briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on G7 → Cm7 (bVII7 → biii7 in A, bII7 → #iv7 in F#m): secondary resolution — G7 resolves a fourth up to Cm7. Ending on Gm, 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.