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)
Ari Barokas - Ömrümüz Yine Geçiyor - Chord
Key D major – B minor Chords Bm, Em Easy key C (capo 2)
No ratings yet
or your user informations
Make it yours
Text size
Key: D | Bm
Capo: 0
Bm Em
Bm Em
Bu yanı göremedik
Bm Em
Bir telaş bir delilik
Bm Em
Bu gidiş hızlı duramadılar
Bm
Geçiyor vay vay vay vay
Em Bm
Ömrümüz yine geçiyor
Bm Em
Geçiyor gülemeden
Bm Em
Sonunu göremeden
Bm Em
Bir çıkış lazım bulamadılar
Bm
Geçiyor vay vay vay vay
Em Bm
Ömrümüz yine geçiyor
Em Bm
Ömrümüz yine geçiyor vay vay vay vay
Em Bm
ömrümüz yine geçiyor
Bm Em
Bm Em
Bir hayal kovaladım
Bm Em
Gönlümü oyaladım
Bm Em
Ne vakit kalmış göremediler
Bm
Geçiyor vay vay vay vay
Em Bm
Ömrümüz yine geçiyor
Em Bm
Ömrümüz yine geçiyor vay vay vay vay
Em Bm
ömrümüz yine geçiyor
Em Bm
Ömrümüz yine geçiyor
Bm Em
Başı boş kelimeler
Bm Em
Dökülür boşa gider
Bm Em
Satır yazdım silemediler
Bm
Geçiyor vay vay vay vay
Em Bm
Ömrümüz yine geçiyor
Em Bm
Ömrümüz yine geçiyor vay vay vay vay
Em Bm
ömrümüz yine geçiyor
Em Bm
Ömrümüz yine geçiyor
End of song Play again?
Ari Barokas - Ömrümüz Yine Geçiyor Tabs
NotesX
Harmony analysis
Ari Barokas – Ömrümüz Yine Geçiyor: key and chord analysis
The song opens on Bm and ends on Bm. 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 it both starts and finishes on Bm and Bm is heard 30 times while D never appears. 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 | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 26× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 30× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 30× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | 26× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
Analysis
The key pair is D major and its relative B minor (2 sharps). 2 different chords appear 56 times in total; 2 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
- Em Bm Dii → vi Bmiv → iminor plagal ×26
The move to watch is Em → Bm, heard 26 times. From the Bm side it is iv → i (minor plagal: deep and melancholic); from the D side it reads ii → 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — 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 Bm lays a solid floor for everything that follows. The chords that keep coming back are Bm, Em; read them as vi–ii in D or i–iv in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Bm (ii → vi in D, iv → i in Bm): minor plagal — deep and melancholic. It closes on Bm, letting the Bm side have the last word.
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.
Ari Barokas - Ömrümüz Yine Geçiyor 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Ari BarokasMusic: Ari Barokas
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.