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)
Güler Özince - Bulurum Yolumu - Chord
Key A major – F# minor Chords Amaj7, Dmaj7, A, D Difficulty already in its easiest key
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Key: A | Gbm | F#m
Capo: 0
A
A
Zihnim bi sussa
O kadar sussa ki
Sonunda kalbimi duysam
Aklıma yatsa
Ardımda bıraktığım
O küçük çocuğun yanına yol alsam
Dmaj7 Amaj7
Bi varsam, ya bi yoksam
Dmaj7 Amaj7
Bi doğsam yine küllerimden, doğsam
Dmaj7
Bi bulsam
Amaj7
İçimdeki kayıp ormanı
Dmaj7 Amaj7
Bi denizime karışsam
Dmaj7
Huuu
Amaj7
Nasılsa bulurum yolumu
D Amaj7
Ulaşırım içimdeki derin yeşillere
Dmaj7
Huuuu
Amaj7
Uğurlarım geçmişi
D Amaj7
Karışırım önümdeki büyük denizlere
End of song Play again?
Güler Özince - Bulurum Yolumu Tabs
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Harmony analysis
Güler Özince – Bulurum Yolumu: key and chord analysis
The song opens on A and ends on Amaj7. 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 it both starts and finishes on A and A is heard 10 times while F#m never appears. 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 |
|---|---|---|---|---|
| Imaj7 | Amaj7 | Tonic — home | A · C# · E · G# | 8× |
| I | A | Tonic — home | A · C# · E | 2× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 6× |
| IV | D | Subdominant — moves away from home | D · F# · A | 2× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| IIImaj7 | Amaj7 | Relative major — the bright side | A · C# · E · G# | 8× |
| III | A | Relative major — the bright side | A · C# · E | 2× |
| 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# | — |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 6× |
| VI | D | Submediant — warm colour | D · F# · A | 2× |
| 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). 4 different chords appear 18 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Dmaj7 Amaj7 AIVmaj7 → Imaj7plagal cadence F#mVImaj7 → IIImaj7 ×6
- D Amaj7 AIV → Imaj7plagal cadence F#mVI → IIImaj7 ×2
The move to watch is Dmaj7 → Amaj7, heard 6 times. From the A side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the F#m side it is VImaj7 → IIImaj7. 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 Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over Dmaj7, land on D, F#, A — 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.
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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is A; the ear learns where home is within a second. The chords that keep coming back are Amaj7, Dmaj7, A, D; read them as Imaj7–IVmaj7–I–IV in A or IIImaj7–VImaj7–III–VI in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dmaj7 → Amaj7 (IVmaj7 → Imaj7 in A, VImaj7 → IIImaj7 in F#m): plagal cadence — the soft 'amen' ending. It closes on Amaj7, 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.
Güler Özince - Bulurum Yolumu 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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Lyrics: Güler ÖzinceMusic: Güler ÖzinceArrangement: Güler Özince
Batuhan Çaylak
Batuhan Çaylak
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