Mustafa Sandal - Reset (Eypio ) - Chord

Key F major – D minor Chords A, Bb, Gm Easy key C (capo 5)

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Capo 0

A
Dünyanı yıkar faydasız aşklar

Sen harcını sür, oturur taşlar
Bb
Direnme pes et, at bir reset
Gm                         A
Hayat her gün sıfırdan başlar

A
Aa derdi kederi, nedir ki ederi

Bir kemik bir deri kaldın bak
Bb
Değer mi gidene, mutsuz edene
Gm              A
Yorgun bedene bak

A
Resetle kalbini al da gel derdini

Durumda böyle mi çaresi yok
Bb
Uzun ve ince bir yoldan geçtik
Gm                      A
En sonu ölümse faydası yok

A
Reseti at at, reseti at at

Kafanı sıfırla, reseti at at
Bb
Bir rahatla sen, durumun hep sakat
Gm                             A
Bu normal aşk değil, seninki psikopat

A
Belliydi zaten bu işin böyle olacağı

Bazen konuşuyor bazen tutar susacağı
Bb
Biz kız öğretmişti bana Rusça
Gm                 A    
Ben beklemiyordum şahsen tutacağını

A
Usta biliyor hangi kalbin atacağını

Uçağın rötarsız kalkacağını
Bb
Uçuk kaçık her mevzuya dalacağını
Gm                           A
İyi düşün kız kimlerle yatacağını

A
Hiçbir şeyin bana hiçbir şeysin demesi

Benim için hiç baba
Bb
Teker var klipte 17 inç
Gm                A
17 pinç gibi 17 feet

End of song Play again?

Mustafa Sandal - Reset (Eypio ) Tabs

NotesX

Harmony analysis

Mustafa Sandal – Reset (Eypio ): key and chord analysis

The song opens on A and ends on A. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (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 D minor side because the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	7×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
III	A	Chromatic colour chordoutside the key	A · C# · E	14×
IV	Bb	Subdominant — moves away from home	Bb · D · F	7×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	—
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	—
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	7×
v	Am	Minor dominant — soft pull	A · C · E	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	14×
VI	Bb	Submediant — warm colour	Bb · D · F	7×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 3 different chords appear 28 times in total; 2 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull.

Chord movement

Gm A Fii → III Dmiv → Viv → V ×7

The move to watch is Gm → A, heard 7 times. From the Dm side it is iv → V (iv → V: the minor side's tension builder); from the F side it reads ii → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
When A comes, swap the scale's C for C#: 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The opening A lays a solid floor for everything that follows. The chords that keep coming back are A, Bb, Gm; read them as III–IV–ii in F or V–VI–iv in Dm. A is the interesting twist: in F it is a chromatic chord (III), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Gm → A (ii → III in F, iv → V in Dm): iv → V — the minor side's tension builder. The final chord is A; the ear comes to rest in F.

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.