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)
Selçuk Balcı - Nerde Gidenlerimiz (Lodos) - Chord
Key D major – B minor Chords F#m, Bm, D, A, E, Am, G Easy key C (capo 2)
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Key: D | Bm
Capo: 0
F#m Bm
Lodos üstüne lodosda fırtınanın öncesi
F#m Bm
Suspus olmuş martılarda bu neyin habercisi
G F#m
Bir türkü takıldi da bitmedi geberesi
Bm A E
Bir türkü takıldi da bitmedi geberesi
D F#m
Gitmedi geberesi
Bm
Ne yelkenumuz kaldi, ne dümenumuz
Am
Kalanlarumuz tamamda nerde gidenlerumuz
D F#m
Nerde gidenlerumuz
Bm Am
Kalanlarumuz tamamda nerde gidenlerumuz
D F#m
Nerde gidenlerumuz
F#m Bm
Dalga dalga aşılmazsa aşılmaz Karadeniz
F#m Bm
Deniz kokar kız kokarda yakar sevdalariumuz
Bm
Analari ağlarda bilmez uşaklarumuz
Bm A E
Analari ağlarda bilmez uşaklarumuz
D E F#m
Bilmez uşaklarumuz
Bm
Ne yelkenumuz kaldi, ne dümenumuz
A
Kalanlarumuz tamamda nerde gidenlerumuz
D F#m
Nerde gidenlerumuz
Bm Am
Kalanlarumuz tamamda nerde gidenlerumuz
D F#m
Nerde gidenlerumuz
End of song Play again?
Selçuk Balcı - Nerde Gidenlerimiz (Lodos) Tabs
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Harmony analysis
Selçuk Balcı – Nerde Gidenlerimiz (Lodos): key and chord analysis
The song opens on F#m and ends on F#m. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because Bm is heard 11 times against 6 for D. 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 | 6× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 3× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 11× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 1× |
| V | A | Dominant — strongest pull home | A · C# · E | 3× |
| v | Am | Chromatic colour chordoutside the key | A · C · E | 3× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 11× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 11× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 6× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 3× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 11× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 1× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 3× |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 3× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 38 times in total; 5 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×9
- A D DV → Iauthentic cadence BmVII → III ×1
The move to watch is F#m → Bm, heard 9 times. From the Bm side it is v → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii → vi. 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over D, 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 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening F#m lays a solid floor for everything that follows. The chords that keep coming back are F#m, Bm, D, A; read them as iii–vi–I–V in D or v–i–III–VII in Bm. E adds a moment of surprise: secondary dominant V/V — leads to A. Keep an ear on F#m → Bm (iii → vi in D, v → i in Bm): natural-minor cadence — gentle, modal arrival. The final chord is F#m; the ear comes to rest in D.
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.
Selçuk Balcı - Nerde Gidenlerimiz (Lodos) 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: Ayla ÇelikMusic: Ayla ÇelikArrangement: Özgür Abbak
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