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)
Aysel Yakupoğlu - Gönüller Hiç Yas Tutar mı - Chord
Key A major – F# minor Chords C#m7, Bm7, Dmaj7, E, F#m7, F#7, A, Amaj7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m7 Dmaj7 E E C#m7 C#m7 F#7 Bm7 Dmaj7 Dmaj7 Bm7 C#m7 A Bm7 C#m7
Amaj7
Kuru dalda gül olur mu?
Bm7 Dmaj7 C#m7
Gül olur mu? Gül olur mu? Vay
Amaj7
Sevmeyenden yar olur mu?
Bm7 Dmaj7 C#m7
Yar olur mu? Yar olur mu? Vay
F#m7 Dmaj7 E
Şu gönlüme, Ankara'da bir seven yar
Bm7 C#m7
Bulunur mu? Bulunur mu? Vay
F#m7 Dmaj7
Karlı dağlar pus tutar mı?
E
Kayaları pas tutar mı?
C#m7
Seven sevdiğini alsa
F#7 Bm7
Gönüller hiç yas tutar mı?
Dmaj7
Seven sevdiğini alsa
Bm7 C#m7
Gönüller hiç yas tutar mı?
A Bm7 C#m7
Yas tutar mı? Vay
F#m7 Dmaj7 E E C#m7 C#m7 F#7 Bm7 Dmaj7 Dmaj7 Bm7 C#m7 A Bm7 C#m7
Amaj7
Kara kışım yaz olur mu?
Bm7 Dmaj7 C#m7
Yaz olur mu? Yaz olur mu? Vay
Amaj7
Yar olmadan naz olur mu?
Bm7 Dmaj7 C#m7
Naz olur mu? Naz olur mu? Vay
F#m7 Dmaj7
Saçlarından bağ koparsam
E
Şu sazıma tel olur mu?
Bm7 C#m7
Tel olur mu? Vay
F#m7 Dmaj7
Karlı dağlar pus tutar mı?
E
Kayaları pas tutar mı?
C#m7
Seven sevdiğini alsa
F#7 Bm7
Gönüller hiç yas tutar mı?
Dmaj7
Seven sevdiğini alsa
Bm7 C#m7
Gönüller hiç yas tutar mı?
A Bm7 C#m7
Yas tutar mı? Vay
End of song Play again?
Aysel Yakupoğlu - Gönüller Hiç Yas Tutar mı Tabs
NotesX
Harmony analysis
Aysel Yakupoğlu – Gönüller Hiç Yas Tutar mı: key and chord analysis
The song opens on F#m7 and ends on C#m7. 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: we can't honestly pick a side here — the song moves freely between A major and F# minor because it opens on F#m and A is heard 8 times against 6 for F#m. Try reading the chords both ways and see which feels more like home to you.
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 |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | 4× |
| Imaj7 | Amaj7 | Tonic — home | A · C# · E · G# | 4× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 18× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 20× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 16× |
| V | E | Dominant — strongest pull home | E · G# · B | 8× |
| vi7 | F#m7 | Relative minor — the melancholy side | F# · A · C# · E | 6× |
| V7/ii | F#7 | Secondary dominant V/ii — leads to Bmsecondary dominant | F# · A# · C# · E | 4× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | F#m7 | Tonic — home | F# · A · C# · E | 6× |
| V7/iv | F#7 | Secondary dominant V/iv — leads to Bmsecondary dominant | F# · A# · C# · E | 4× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 4× |
| IIImaj7 | Amaj7 | Relative major — the bright side | A · C# · E · G# | 4× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 18× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 20× |
| 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# | 16× |
| 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). 8 different chords appear 80 times in total; 7 of them sit naturally inside the shared scale. F#7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Dmaj7 E AIVmaj7 → VIV → V F#mVImaj7 → VIIVI → VII ×6
- C#m7 F#m7 Aiii7 → vi7 F#mv7 → i7natural-minor cadence ×5
- F#7 Bm7 AV7/ii → ii7secondary resolution F#mV7/iv → iv7 ×4
The move to watch is Dmaj7 → E, heard 6 times. From the A side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the F#m side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). 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 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.
- Over Dmaj7, 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on F#m7, the song gives away its key from the very first bar. The backbone is C#m7, Bm7, Dmaj7, E — iii7–ii7–IVmaj7–V from the A side, v7–iv7–VImaj7–VII from the F#m side. F#7 adds a moment of surprise: secondary dominant V/ii — leads to Bm. Keep an ear on Dmaj7 → E (IVmaj7 → V in A, VImaj7 → VII in F#m): IV → V — the lift that builds tension before home. Ending on C#m7, the song seals A 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.
Aysel Yakupoğlu - Gönüller Hiç Yas Tutar mı 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: Özgür KoçMusic: Özgür KoçArrangement: Özgür Koç
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