Birileri - Mavi Sabahlara Mahcup Elveda - Chord

Key D major – B minor Chords Bm7, D, E, G, Bb, A, C, Em Easy key G (capo 7)

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Capo 0

D  D  Bm7  Bm7

D
On dakika daha geçmiş
              Bm7
Gittiğinden beri bu evden
D
Bir şey hiç denenmemiş
                Bm7
Bir yılın son günü avucumda

D
Söyle bana hadi
      Bm7
Ne olacak şimdi bize
D
Yeni bi virgül koyalım, iyisi mi
      Bm7
Düşeyazan cümlemize

E                            Bm7
 Bir belirsizlik denizinde dibe doğru, batışımız
E                        Bm7                  G
 Yarınımız yok, elimizde sadece bu an farkındayız

D  D  Bm7  Bm7

D
On dakika daha geçmiş
              Bm7
Gittiğinden beri bu şehirden
D
Bir yol hiç girilmemiş
              Bm7
Bir veda öyle ki edilmeyen

D
Anlat bana hadi
      Bm7
Ne olacak şimdi bize
D
Yeni bi virgül koyalım, iyisi mi
      Bm7
Düşeyazan cümlemize

E                            Bm7
 Bir belirsizlik denizinde dibe doğru, batışımız
E                        Bm7                  G
 Yarınımız yok, elimizde sadece bu an farkındayız

Bm7       Bb       D           A
Mahcubiyetim bir anlam ifade eder mi
C             Em           D
Tüm o ışıltılı sabahlar için teşekkürler

End of song Play again?

Birileri - Mavi Sabahlara Mahcup Elveda Tabs

NotesX

Harmony analysis

Birileri – Mavi Sabahlara Mahcup Elveda: key and chord analysis

The song opens on D and ends on D. Its chords belong to both D major and Bm, so every chord below is read both ways.

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)

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 D major side because it both starts and finishes on D and Bm is heard 17 times against 14 for D. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.

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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	14×
ii	Em	Supertonic — prepares the dominant	E · G · B	1×
V/V	E	Secondary dominant V/V — leads to Asecondary dominant	E · G# · B	4×
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	2×
V	A	Dominant — strongest pull home	A · C# · E	1×
bVI	Bb	Borrowed from the parallel minorborrowed chord	Bb · D · F	1×
vi7	Bm7	Relative minor — the melancholy side	B · D · F# · A	17×
bVII	C	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	C · E · G	1×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i7	Bm7	Tonic — home	B · D · F# · A	17×
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	1×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	14×
iv	Em	Subdominant — moves away from home	E · G · B	1×
IV	E	Major IV — Dorian / melodic-minor colourmodal colour	E · G# · B	4×
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	2×
VII	A	Subtonic — steps back to the tonic	A · C# · E	1×
#VII	Bb	Chromatic colour chordoutside the key	Bb · D · F	1×

Analysis

The key pair is D major and its relative B minor (2 sharps). 8 different chords appear 41 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. Bb, C are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G D DIV → Iplagal cadence BmVI → III ×1
G Bm7 DIV → vi7 BmVI → i7VI → i ×1

The move to watch is G → D, heard once. From the D side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Bm side it is VI → III. 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 Bm7, 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.
Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
On Bb, follow the chord's notes (Bb · D · F) 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 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

5 semitones up · capo 7 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on D, the song gives away its key from the very first bar. The backbone is Bm7, D, E, G — vi7–I–V/V–IV from the D side, i7–III–IV–VI from the Bm side. E adds a moment of surprise: secondary dominant V/V — leads to A. Keep an ear on G → D (IV → I in D, VI → III in Bm): plagal cadence — the soft 'amen' ending. Ending on D, the song seals D 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.