Birileri - Bu Böyle - Chord

Key E major – C# minor Chords B, A, C#m, E, G#, D Easy key G

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Capo 0

C#m       B        E     A
 Ne desen haklısın şimdi
C#m      B          E      A
 Bu uğursuz başım gidip gelir
C#m      B         A         B
 Bu gürültü bana yabancı değiil
       G#
Kabullenmeliyim

C#m       B        E   A
 Bi tutam hatıra elde
C#m       B        E          A
 Parmaklarım kalemle gidip gelir
C#m      B         A         B
 Bu sükûnet bana yabancı değiil
       G#
Kabullenmeliyim

   A       B
Bu böyleeeeee
                A                    B
Amansız bi savaşta kendim karşı kendime
   A       B
Bu böyleeeeee
              A                      B
Tekil sebeplerin çoğul sonuçları içinde
     E   D  A  B
Bu böyle

C#m       B        E   A
 Tıkanıp kaldığım oldu
C#m        B           E         A
 Derin bir nefes çekip boş verdiğim de
C#m       B          A              B
 Olup biteni değiştirmem mümkün değiil
                 G#
Kabullendim, olduğu gibi

   A       B
Bu böyleeeeee
                A                    B
Amansız bi savaşta kendim karşı kendime
   A       B
Bu böyleeeeee
              A                      B
Tekil sebeplerin çoğul sonuçları içinde
     E   D  A  B
Bu böyle

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Birileri - Bu Böyle Tabs

NotesX

Harmony analysis

Birileri – Bu Böyle: key and chord analysis

The song opens on C#m and ends on B. Its chords belong to both E major and C#m, so every chord below is read both ways.

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D# (leading tone, pulls home)
4 = A (the note that leans on the 3rd)

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)
#7 = B# (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 C# minor side because it opens on C#m, C#m is heard 9 times against 8 for E and the major V chord points straight at C#m. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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 E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	8×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	—
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	—
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	3×
IV	A	Subdominant — moves away from home	A · C# · E	19×
V	B	Dominant — strongest pull home	B · D# · F#	22×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	9×
bVII	D	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	D · F# · A	2×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	9×
bII	D	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	D · F# · A	2×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	8×
iv	F#m	Subdominant — moves away from home	F# · A · C#	—
v	G#m	Minor dominant — soft pull	G# · B · D#	—
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	3×
VI	A	Submediant — warm colour	A · C# · E	19×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	22×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 63 times in total; 4 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G# is V/vi, a secondary dominant heading for C#m. D is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

A B EIV → VIV → V C#mVI → VIIVI → VII ×13
B E EV → Iauthentic cadence C#mVII → III ×8
A C#m EIV → vi C#mVI → iVI → i ×6
G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×1
B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×1

The move to watch is A → B, heard 13 times. From the C#m side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the E side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — 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.
When G# comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.
On D, follow the chord's notes (D · F# · A) 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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

The opening C#m lays a solid floor for everything that follows. The backbone is B, A, C#m, E — V–IV–vi–I from the E side, VII–VI–i–III from the C#m side. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → B (IV → V in E, VI → VII in C#m): VI → VII — the rising step that heads for the tonic. Ending on B, the song seals E 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.

Birileri - Bu Böyle 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: Jan Soykök

Music: Jan Soykök

Arrangement: Birileri

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