Baturalp - Velfecr - Chord

Key A major – F# minor Chords F#m, E, D, Bm Easy key G (capo 2)

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Capo 0

F#m  E  D  Bm

F#m                    E
  İstedim ama görmedin hiç beni
                   D
Haykırdım duymadın sesimi
           Bm
Söyle bana varlığın yokluğunu bilir mi

F#m
  Denedim ama yok
     E              D
Ne seni ne de kendi kendimi bulamadım hiç
   Bm
Ölüyorum ama var sebebim

F#m                              E
 İçim acıyor benim niye kor bu yürek
                             D
Yanıyor yakıyor sorununu bilerek

Sönemez ateşi tek çarem
Bm
Gömsem diri diri görsem en dibi

F#m  E  D  Bm

F#m                      E
  Buraya kadar her şey yolunda dedim
                D 
Ben uçamam anca düşerim bilemedim
Bm
Sadece süzülmek istemiştim

F#m                    E               D
  Denedim ama yok ne seni ne de gördüm velfecr'i
             Bm
Sevemedim desem yalan olur bu şer geceyi

F#m                              E
 İçim acıyor benim niye kor bu yürek
                             D
Yanıyor yakıyor sorununu bilerek

Sönemez ateşi tek çarem
Bm
Gömsem diri diri görsem en dibi

End of song Play again?

Baturalp - Velfecr Tabs

NotesX

Harmony analysis

Baturalp – Velfecr: key and chord analysis

The song opens on F#m and ends on Bm. 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: to us the song feels closer to the F# minor side because it opens on F#m and F#m is heard 8 times while A never appears. 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#	8×
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	8×
V	E	Dominant — strongest pull home	E · G# · B	8×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	8×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	8×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
iv	Bm	Subdominant — moves away from home	B · D · F#	8×
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	8×
VII	E	Subtonic — steps back to the tonic	E · G# · B	8×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 32 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

Bm F#m Aii → vi F#miv → iminor plagal ×7

The move to watch is Bm → F#m, heard 7 times. From the F#m side it is iv → i (minor plagal: deep and melancholic); from the A side it reads ii → 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over E, 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.

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

2 semitones down · capo 2 keeps the original pitch
3 semitones up

The song's harmonic story

The opening F#m lays a solid floor for everything that follows. The chords that keep coming back are F#m, E, D, Bm; read them as vi–V–IV–ii in A or i–VII–VI–iv in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → F#m (ii → vi in A, iv → i in F#m): minor plagal — deep and melancholic. It closes on Bm, 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.