Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Hüsnü Arkan - Öyle Bir Rüya (Birsen Tezer) - Chord
Key G major – E minor Chords Em, D, Bm, Am, C, B7, B Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Bm Am B7
Bir tren boşaldı sonra meydanlara kuşlar indi
Em D
Seni beklerken her şey sana benzedi
Am Bm C D B7
Sonra bir ağaç indi, ağaç, sana benzedi
Em Bm Am B7
Bir şarkı yanaştı iskeleye, kelimeler sana benzedi
Em D C Bm
Sonra bir yağmur indi, sonra ebem kuşakları
Am B7 Am Bm C Bm
Sonra sen geldin, sen geldin, bütün sokaklara
Em Bm D Em
Öyle bir rüya öyle, öyle bir rüya öyle
Bm D Em
Öyle bir rüya öyle, öyle bir rüya
Em D
Beyoğlu’nda bir tramvay, raydan çıkmış vay
C D Bm Am Em
Sensiz bunca yıl nasıl yaşadığımı, vay ki ömrüme vay
D
Beyoğlu’na bir tramvay, raydan çıkmış vay
C D Bm Am Em
Yıkıldı gitti içimizdeki saray, vay ki aşkımıza vay
Em Bm Am B7
Ağaçlar bizim gibi uyurlar, uyanırlar bizim gibi
Em D C Bm
Şimdi sokaklar buseler ordusunda
Am B7 C D B7 B
Çünkü sen geldin aşk sana benzedi
Em Bm D Em
Öyle bir rüya öyle, öyle bir rüya öyle
Bm D Em
Öyle bir rüya öyle, öyle bir rüya
Em D
Beyoğlu’nda bir tramvay, raydan çıkmış vay
C D Bm Am Em
Sensiz bunca yıl nasıl yaşadığımı, vay ki ömrüme vay
D
Beyoğlu’na bir tramvay, raydan çıkmış vay
C D Bm Am Em
Yıkıldı gitti içimizdeki saray, vay ki aşkımıza vay
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Hüsnü Arkan - Öyle Bir Rüya (Birsen Tezer) Tabs
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Harmony analysis
Hüsnü Arkan – Öyle Bir Rüya (Birsen Tezer): key and chord analysis
The song opens on Em and ends on Em. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
- #7 = D# (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 E minor side because it both starts and finishes on Em, Em is heard 18 times while G never appears and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 11× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 16× |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 7× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 1× |
| IV | C | Subdominant — moves away from home | C · E · G | 9× |
| V | D | Dominant — strongest pull home | D · F# · A | 17× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 18× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 18× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 11× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 16× |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 7× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 1× |
| VI | C | Submediant — warm colour | C · E · G | 9× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 17× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 79 times in total; 5 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 / B is V7/vi, a secondary dominant heading for Em.
Chord movement
- C D GIV → VIV → V EmVI → VIIVI → VII ×6
- Am B7 Gii → V7/vi Emiv → V7iv → V ×5
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×4
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×4
- Am Em Gii → vi Emiv → iminor plagal ×4
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×1
The move to watch is C → D, heard 6 times. From the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the G side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- When B7 comes, swap the scale's D for D#: 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Em lays a solid floor for everything that follows. The backbone is Em, D, Bm, Am — vi–V–iii–ii from the G side, i–VII–v–iv from the Em side. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C → D (IV → V in G, VI → VII in Em): VI → VII — the rising step that heads for the tonic. The final chord is Em; the ear comes to rest in Em.
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.
Hüsnü Arkan - Öyle Bir Rüya (Birsen Tezer) 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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