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)
Umut Kaya - Yanıma Yataydı - Chord
Key A major – F# minor Chords G#, A, F#m Easy key F (capo 4)
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Key: A | Gbm | F#m
Capo: 0
G# A G# Gördü mü kıpırdayamaz G# A G# gözlerim gözlerini G# A G# Ben zaten sessizce G# A G# gözlerim gözlerini G# O bunu bilmiyordu G# A F#m Gözyaşlarım içime içime akardı F#m A G# O buna aldırmadan keyfine bakardı G# A F#m İstedim yalnız bir kez yanıma yataydı F#m A G# Hiçbir şey yapmasa da elimi tutaydı.
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Umut Kaya - Yanıma Yataydı Tabs
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Harmony analysis
Umut Kaya – Yanıma Yataydı: key and chord analysis
The song opens on G# and ends on G#. 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 A major side because A is heard 8 times against 4 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.
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 | 8× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| 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 | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 4× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| VII | G# | Chromatic colour chordoutside the key | G# · B# · D# | 13× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 4× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| II | G# | Chromatic colour chordoutside the key | G# · B# · D# | 13× |
| III | A | Relative major — the bright side | A · C# · E | 8× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| 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 | — |
| 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). 3 different chords appear 25 times in total; 2 of them sit naturally inside the shared scale. G# step outside the scale as colour chords.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 G#, land on G#, B#, D# — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — 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.
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
- 4 semitones down · capo 4 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on G#, the song gives away its key from the very first bar. The chords that keep coming back are G#, A, F#m; read them as VII–I–vi in A or II–III–i in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is G#; 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.
Umut Kaya - Yanıma Yataydı 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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