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)
Zeynep Bastık - Yağmur - Chord
Key A major – F# minor Chords C#m, Bm7, Dmaj7, Amaj7, F#m, E Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m C#m
Senden çok uzakta bir yerlerdeyim
F#m C#m
Bazen sevinç kederlerdeyim
Dmaj7 E
İnan tatlım kandım senin aşkına
Dmaj7
Her yağmur yağdığında
C#m
Gözlerin hep aklımda
Bm7
Adını ne zaman ansam
Amaj7
Yağmur yağar buralara
Dmaj7 C#m
Kısacık bir aşktı bu yaşadığımız
Bm7 Amaj7
Tatlı bir oyundu oynadığımız
F#m C#m
Sence başka ne olabilir bu
Bm7 C#m
Bence üzerimize
Bm7 Amaj7
Yağan bir yaz yağmuru
Dmaj7 C#m
Bence üzerimize
Bm7 Amaj7
Yağan bir yaz yağmuru
End of song Play again?
Zeynep Bastık - Yağmur Tabs
NotesX
Harmony analysis
Zeynep Bastık – Yağmur: key and chord analysis
The song opens on F#m and ends on Amaj7. Its chords belong to both A major and F#m, so every chord below is read both ways.
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 A major side because it comes to rest on A, it opens on F#m and A is heard 4 times against 3 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Amaj7 | Tonic — home | A · C# · E · G# | 4× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 5× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 7× |
| 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# | 4× |
| V | E | Dominant — strongest pull home | E · G# · B | 1× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 3× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 3× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| IIImaj7 | Amaj7 | Relative major — the bright side | A · C# · E · G# | 4× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 5× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 7× |
| 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# | 4× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 1× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 24 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
- C#m F#m Aiii → vi F#mv → inatural-minor cadence ×1
- Dmaj7 E AIVmaj7 → VIV → V F#mVImaj7 → VIIVI → VII ×1
The move to watch is C#m → F#m, heard once. From the A side it reads iii → vi; from the F#m side it is v → i (natural-minor cadence: gentle, modal arrival). 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 C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Dmaj7, land on D, F#, A — 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 F#m, the song gives away its key from the very first bar. The chords that keep coming back are C#m, Bm7, Dmaj7, Amaj7; read them as iii–ii7–IVmaj7–Imaj7 in A or v–iv7–VImaj7–IIImaj7 in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. Ending on Amaj7, the song seals A 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.
Zeynep Bastık - Yağmur 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: Cihan ÖzdenMusic: Cihan Özden
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