Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Nesrin Cavadzade - Bir Rüya Gördüm (Elif Doğan) - Chord
Key F major – D minor Chords Dm, Gm, A, A7, Bbmaj7, Bb, Gdim, Abdim Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Dm Gdim Gdim Abdim A7 Dm Dm
Gm A
Bir rüya gördüm dün gece
Dm Bbmaj7
Sürseydi keşke ömrümce
Gm A Dm
Öyle güzeldi ki her şey, her yer
Gm A
Yıldızlarla dolu bir yolda
Dm Bbmaj7
Yürüyorduk seninle el ele
Gm A Dm
Bulutların üstünde bir yerde
Bb A7 Bb A7 Bb A7 Bb A7
Gm A
Gözlerindeki ışığı
Dm Bbmaj7
Görmemiştim hiç böylesine
Gm A Dm
Güneşten bile parlaktı inan
Gm A
Bir rüya gördüm dün gece
Dm Bbmaj7
Çiçeklerle dolu her köşe
Gm A Dm
Bir başka dünyadaydık biz seninle
End of song Play again?
Nesrin Cavadzade - Bir Rüya Gördüm (Elif Doğan) Tabs
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Harmony analysis
Nesrin Cavadzade – Bir Rüya Gördüm (Elif Doğan): key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (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 D minor side because it both starts and finishes on Dm, Dm is heard 12 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 8× |
| ii° | Gdim | Chromatic colour chordoutside the key | G · Bb · Db | 2× |
| vii°/iii | Abdim | Secondary leading-tone chord vii°/iii — leads to Amsecondary dominant | Ab · Cb · D | 1× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 8× |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 5× |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 4× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 4× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 12× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 12× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 8× |
| iv° | Gdim | Chromatic colour chordoutside the key | G · Bb · Db | 2× |
| vii°/v | Abdim | Secondary leading-tone chord vii°/v — leads to Amsecondary dominant | Ab · Cb · D | 1× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 8× |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 5× |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 4× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 4× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 8 different chords appear 44 times in total; 4 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A / A7 is V/vi, a secondary dominant heading for Dm. Abdim acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×8
- Gm A Fii → V/vi Dmiv → Viv → V ×8
- A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×1
The move to watch is A → Dm, heard 8 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, 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.
- When A7 comes, swap the scale's C for C#: 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Dm lays a solid floor for everything that follows. The backbone is Dm, Gm, A, A7 — vi–ii–V/vi–V7/vi from the F side, i–iv–V–V7 from the Dm side. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. Ending on Dm, the song seals Dm 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.
Nesrin Cavadzade - Bir Rüya Gördüm (Elif Doğan) 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: Zeren (Ossi Müzik)Music: Robert J. Rob Van Leeuwen
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