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)
Salman Tin - Eylül x Oğuzhan Koç - Chord
Key A major – F# minor Chords Dmaj7, C#m7, Bm7, Amaj7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
Dmaj7 C#m7 Bm7 Amaj7
Dmaj7 C#m7
Dursun zaman şurda
Bm7 Amaj7
Seni koyduğum bu sonsuzda
Dmaj7 C#m7
Ahdım yarım kaldı
Bm7 Amaj7
Sana kızmak ne haddime
Dmaj7 C#m7
Nasıl bir hasrettin bir gurbettin
Bm7 Amaj7
Bir yangın başlatıp gittin
Dmaj7 C#m7
Eylül bir hayali
Bm7 Amaj7
Narin kalbimin hali
Dmaj7 C#m7
Yani her giden biraz sendi
Bm7 Amaj7 Bm7 C#m7 Dmaj7
Sen hep öyle gül gül gül gül
Dmaj7 C#m7 Bm7 Amaj7
Dmaj7 C#m7
Kısmet dediğin sevince olur
Bm7 Amaj7
O darben öğretti sözler buruk
Dmaj7 C#m7
Hep o gözlerin benimle uyur
Bm7 Amaj7
Düştükçe uslanmaz bir kör kuyu
Dmaj7 C#m7
Eylül bir hayali
Bm7 Amaj7
Narin kalbimin hali
Dmaj7 C#m7
Yani her giden biraz sendi
Bm7 Amaj7 Bm7 C#m7 Dmaj7
Sen hep öyle gül gül gül gül
End of song Play again?
Salman Tin - Eylül x Oğuzhan Koç Tabs
NotesX
Harmony analysis
Salman Tin – Eylül x Oğuzhan Koç: key and chord analysis
The song opens on Dmaj7 and ends on Dmaj7. 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 11 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# | 11× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 13× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 13× |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 13× |
| 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# | 11× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 13× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 13× |
| 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# | 13× |
| 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 50 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
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 Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is Dmaj7; the ear learns where home is within a second. The backbone is Dmaj7, C#m7, Bm7, Amaj7 — IVmaj7–iii7–ii7–Imaj7 from the A side, VImaj7–v7–iv7–IIImaj7 from the F#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Dmaj7; 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.
Salman Tin - Eylül x Oğuzhan Koç 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: Salman TinMusic: Salman TinArrangement: Çağrı Telkıvıran
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