Ziynet Sali - Rüya - Chord

Key A major – F# minor Chords D, E, Bm, F#m, C#m7, C Easy key G (capo 2)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

F#m  E  D  E

F#m                      E
Benim sevgim göklere sığmadı
             D
Yerde de kalmadı
  Bm         D
Korudum hep dua ettim

F#m                     E
Benim başka bir ricam olmadı
           D
Sadece sev beni
     Bm        D      Bm    E    C#m7
Her gece gördüğüm o rüya gerçek olsa

                  D
Yanıma koşa koşa gelsen
                 C#m7
Geceyi yedi güne bölsen
                D
Elini tuta tuta ölsem
Bm        C#m7
Bizi kaybetmem

                    D
Yanıma koşa koşa gelsen
                    C#m7
Geceyi yedi güne bölsen
                  C
Elini tuta tuta ölsem 
      Bm     D             E   D            F#m
Beni dünyada başka hiçbir şey böyle mutlu etmez

F#m                    E
Yazık kalbim bir daha atmadı
         D
Aşkı da tatmadı
    Bm        D
Ya da ben itiraz ettim

F#m                      E
Bütün bunlar bir rüya olmalı
         D
Sonunda mutluluk
     Bm        D      Bm    E  C#m7
Ve de sen el ele yine gülerek

End of song Play again?

Ziynet Sali - Rüya Tabs

NotesX

Harmony analysis

Ziynet Sali – Rüya: key and chord analysis

The song opens on F#m and ends on C#m7. 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 6 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×
bIII	C	Borrowed from the parallel minorborrowed chord	C · E · G	1×
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	5×
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	14×
V	E	Dominant — strongest pull home	E · G# · B	9×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	6×
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#	6×
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×
#IV	C	Chromatic colour chordoutside the key	C · E · G	1×
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	5×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	14×
VII	E	Subtonic — steps back to the tonic	E · G# · B	9×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 43 times in total; 5 of them sit naturally inside the shared scale. C is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

D F#m AIV → vi F#mVI → iVI → i ×3
D E AIV → VIV → V F#mVI → VIIVI → VII ×2
Bm E Aii → Vii → V F#miv → VII ×2
E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×1

The move to watch is D → F#m, heard 3 times. From the F#m side it is VI → i (VI → i: falls a half step into home); from the A side it reads IV → 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 D, land on D, F#, A — 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.

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 backbone is D, E, Bm, F#m — IV–V–ii–vi from the A side, VI–VII–iv–i from the F#m side. C briefly darkens the picture: borrowed from the parallel minor. Keep an ear on D → F#m (IV → vi in A, VI → i in F#m): VI → i — falls a half step into home. It closes on C#m7, 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.