Jabbar - Cesaretsizce Olmuyor - Chord

Key A major – F# minor Chords Dmaj7, F#m, C#m, A, Bm, E Easy key C

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Dmaj7  C#m  C#m  F#m

A               F#m
İstemek yetmiyor uçmak için
Dmaj7               Bm       E
Kanat çırpmak lazım üstünden geçmişin
A                 F#m
Yaşadım kaç sene, ne bilmişim
Dmaj7          Bm   E
Aklımı zorlasam   neden, niçin

Dmaj7        C#m
Ne bu iş olmuyor
          Dmaj7           F#m
Hayat sensiz de gülüp oynuyor
     Dmaj7             C#m
Kırılsa da kalp kolay kolay
      Dmaj7          F#m
Artık onun sözü geçmiyor

Dmaj7  C#m  C#m  F#m

A                  F#m
Hayıflandım durdum kendime
Dmaj7           Bm          E
Oturdum düşündüm konuştum eski benle
A                F#m   
Sonra baktım bana iyi gelmiyor
Dmaj7                Bm
Kalk dedim gidiyorsun
 
   E    Dmaj7          C#m
Cesaretsizce bu iş olmuyor
      Dmaj7            F#m
Boşa koymam artık dolmuyor
    Dmaj7             C#m
Yıktı geçti deli fırtınan
     Dmaj7           F#m
İndi daha da beklenmiyor

End of song Play again?

Jabbar - Cesaretsizce Olmuyor Tabs

NotesX

Harmony analysis

Jabbar – Cesaretsizce Olmuyor: key and chord analysis

The song opens on Dmaj7 and ends on F#m. 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 comes to rest on F#m and F#m is heard 10 times against 4 for A. 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	4×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	4×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	8×
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#	14×
V	E	Dominant — strongest pull home	E · G# · B	4×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	10×
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#	10×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	4×
iv	Bm	Subdominant — moves away from home	B · D · F#	4×
v	C#m	Minor dominant — soft pull	C# · E · G#	8×
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#	14×
VII	E	Subtonic — steps back to the tonic	E · G# · B	4×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 44 times in total; 6 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

Bm E Aii → Vii → V F#miv → VII ×4
Dmaj7 F#m AIVmaj7 → vi F#mVImaj7 → iVI → i ×4
E A AV → Iauthentic cadence F#mVII → III ×2
C#m F#m Aiii → vi F#mv → inatural-minor cadence ×2

The move to watch is Bm → E, heard 4 times. From the F#m side it is iv → VII; from the A 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

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 Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over C#m, land on C#, E, G# — 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 Dmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Dmaj7, F#m, C#m, A; read them as IVmaj7–vi–iii–I in A or VImaj7–i–v–III in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → E (ii → V in A, iv → VII in F#m): ii → V — the classic preparation of the dominant. The final chord is F#m; the ear comes to rest in F#m.

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.