Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Rubato - Başka Şarkı (Sıla) - Chord
Key D major – B minor Chords Em, F#, Bbm, Bm, A, F#m, Dbm, Abm … Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm
Yokluğunu kaydettim
Em A
Başa sar sar dinliyorum
F#m Em
Bu şarkıdan vazgeçtim ama
Dbm F#
Başka şarkı da sevmiyorum
Bm
Henüz yazılmamış
Em A
Satırların altında sesin
F#m Em
Fikrini de kaptırdım sana
Dbm F#
Bildiğinden eminim
B Bbm
Güven yerle bir bende
Abm F#
Sende de mi öyle
Ebm Bbm
Üzülmeyi göze alsaydık o an
Abm Bbm
Mutluyduk şu an
B Bbm
Durur durur insan aklıyla
Abm F#
Kendini vurur mu
B Bbm
Vurur da ölmez mi insan
Abm Bbm
Haklıysan uyunur mu
Bm
Kurtarıcak bi sebep
Em A
Bi sebep lazım bana
F#m Em
Şaibeden geçilmiyor
Dbm F#
Aşkın anayasasından
Bm
Sarma kıskıvrak
Em A
Şefkatinle oyalama
F#m Em
Umudumu üstünden
Dbm F#
Gömlek gibi çıkarıp atma
End of song Play again?
Rubato - Başka Şarkı (Sıla) Tabs
NotesX
Harmony analysis
Rubato – Başka Şarkı (Sıla): key and chord analysis
The song opens on Bm and ends on F#. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
- #7 = A# (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 B minor side because it opens on Bm, Bm is heard 4 times while D never appears and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 | D | Tonic — home | D · F# · A | — |
| bii | Ebm | Chromatic colour chordoutside the key | Eb · Gb · Bb | 1× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 8× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 4× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 6× |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| #iv | Abm | Chromatic colour chordoutside the key | Ab · Cb · Eb | 4× |
| V | A | Dominant — strongest pull home | A · C# · E | 4× |
| bvi | Bbm | Chromatic colour chordoutside the key | Bb · Db · F | 6× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 4× |
| V/ii | B | Secondary dominant V/ii — leads to Emsecondary dominant | B · D# · F# | 3× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| vii | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 4× |
| V/iv | B | Secondary dominant V/iv — leads to Emsecondary dominant | B · D# · F# | 3× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| ii | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 4× |
| III | D | Relative major — the bright side | D · F# · A | — |
| #iii | Ebm | Chromatic colour chordoutside the key | Eb · Gb · Bb | 1× |
| iv | Em | Subdominant — moves away from home | E · G · B | 8× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 4× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 6× |
| VI | G | Submediant — warm colour | G · B · D | — |
| #vi | Abm | Chromatic colour chordoutside the key | Ab · Cb · Eb | 4× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 4× |
| #vii | Bbm | Chromatic colour chordoutside the key | Bb · Db · F | 6× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 10 different chords appear 44 times in total; 4 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F# is V/vi, a secondary dominant heading for Bm. B acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Em A Dii → Vii → V Bmiv → VII ×4
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×2
The move to watch is Em → A, heard 4 times. From the Bm side it is iv → VII; from the D side it reads ii → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- When F# comes, swap the scale's A for A#: 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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
Starting on Bm, the song gives away its key from the very first bar. The chords that keep coming back are Em, F#, Bbm, Bm; read them as ii–V/vi–bvi–vi in D or iv–V–#vii–i in Bm. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Em → A (ii → V in D, iv → VII in Bm): ii → V — the classic preparation of the dominant. It closes on F#, letting the D 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.
Rubato - Başka Şarkı (Sıla) 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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