Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Ahiyan - Rüya Gibiydin - Chord
Key Db major – Bb minor Chords Bbm, Fm, Ebm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Fm Ebm
x2
Bbm Fm Ebm Bbm
Rüyaa gibiydin kabuslarım oldun
Fm Ebm Bbm
Hem ağlatırken hem güler gibiydin
Fm Ebm Bbm
Bilmek ister misin sevmek zehir oldu
Fm Ebm Bbm
Bir hikaye oldu hayatımda benim için
Bbm Fm
Konuşmaya gerek yok ki
Ebm
Hepimizin susmaya ihtiyacı var
Bbm Fm
Düşünüyorum da neyim yok ki
Ebm
Herkesin gönül evinde bir kiracı var
Bbm Fm
Henüz toparlayamadım
Ebm
Sanki bir misfarim
Bbm Fm
Kendi evimde bile
Ebm
Sense çok anlayamadın
Bbm Fm Ebm Bbm
Rüyaa gibiydin kabuslarım oldun
Fm Ebm Bbm
Hem ağlatırken hem güler gibiydin
Fm Ebm Bbm
Bilmek ister misin sevmek zehir oldu
Fm Ebm Bbm
Bir hikaye oldu hayatımda benim için
Bbm Fm Ebm
x4
Bbm Fm
Tanışmaya gerek var mı
Ebm
Bana göre her “sen” aynı
Bbm Fm
Ya da benim benden ayrı
Ebm
Kendince bir kalp taşıyor
Bbm Fm
Gece de gündüz ayrı
Ebm
Ama bir gün içinde
Bbm Fm
Nasıl değişebilirdim değiştim
Ebm
Bir dakka içerisinde
Bbm Fm Ebm Bbm
Rüyaa gibiydin kabuslarım oldun
Fm Ebm Bbm
Hem ağlatırken hem güler gibiydin
Fm Ebm Bbm
Bilmek ister misin sevmek zehir oldu
Fm Ebm Bbm
Bir hikaye oldu hayatımda benim için
End of song Play again?
Ahiyan - Rüya Gibiydin Tabs
NotesX
Harmony analysis
Ahiyan – Rüya Gibiydin: key and chord analysis
The song opens on Bbm and ends on Bbm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it both starts and finishes on Bbm and Bbm is heard 25 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 22× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 22× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 25× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 25× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 22× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 22× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | — |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 3 different chords appear 69 times in total; 3 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
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×22
The move to watch is Ebm → Bbm, heard 22 times. From the Bbm side it is iv → i (minor plagal: deep and melancholic); from the Db side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Ebm, land on Eb, Gb, Bb — 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. The chords that keep coming back are Bbm, Fm, Ebm; read them as vi–iii–ii in Db or i–v–iv in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm → Bbm (ii → vi in Db, iv → i in Bbm): minor plagal — deep and melancholic. Ending on Bbm, the song seals Bbm 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.
Ahiyan - Rüya Gibiydin 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: AhiyanMusic: AhiyanArrangement: Mustafa Kalem
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