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)
Grup Gündoğarken - Resimler Resimler - Chord
Key D major – B minor Chords D, A7, B7, Em, G, F#m Easy key C (capo 2)
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Key: D | Bm
Capo: 0
D A7 D A7 D A7 D A7 Eski bir resim buldum bugün D A7 D A7 Bir köşesinden içeri girdim D B7 Em Sen bir yerde duruyorsun A7 D A7 D Ben bir yerde D A7 D A7 Dokunmak istedim sana D A7 D A7 Başka insanlar var içinde D B7 Em Sen biriyle konuşuyorsun A7 D Ben biriyle G A7 F#m B7 Resimler resimler resimler Em A7 D Zamanımı çalmış gibi G A7 F#m B7 Resimler resimler resimler Em A7 D O anımı almış gibi G A7 F#m B7 Resimler resimler resimler Em A7 D Devamı varmış gibi D A7 D A7 Eski bir resim buldum bugün D A7 D A7 Bir köşesinden içeri girdim D B7 Em Bir şeylere gülüyorsun A7 D A7 D Belli değil D A7 D A7 Nerdeyiz unutmuşum D A7 D A7 Yanına oturmuşum D B7 Em Ne bir tarih ne bir mekan A7 D Belli değil
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Grup Gündoğarken - Resimler Resimler Tabs
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Harmony analysis
Grup Gündoğarken – Resimler Resimler: 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.
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 D is heard 31 times while Bm never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | 31× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 7× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 3× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 3× |
| V7 | A7 | Dominant — strongest pull home | A · C# · E · G | 30× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | — |
| V7/ii | B7 | Secondary dominant V/ii — leads to Emsecondary dominant | B · D# · F# · A | 7× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | — |
| V7/iv | B7 | Secondary dominant V/iv — leads to Emsecondary dominant | B · D# · F# · A | 7× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 31× |
| iv | Em | Subdominant — moves away from home | E · G · B | 7× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 3× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 3× |
| VII7 | A7 | Subtonic — steps back to the tonic | A · C# · E · G | 30× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 81 times in total; 5 of them sit naturally inside the shared scale. B7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A7 D DV7 → Iauthentic cadence BmVII7 → III ×27
- B7 Em DV7/ii → iisecondary resolution BmV7/iv → iv ×7
- Em A7 Dii → V7ii → V Bmiv → VII7 ×7
- G A7 DIV → V7IV → V BmVI → VII7VI → VII ×3
The move to watch is A7 → D, heard 27 times. From the D side it reads V7 → I (authentic cadence: the strongest arrival home); from the Bm side it is VII7 → 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over B7, land on B, D#, F# — 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 D lays a solid floor for everything that follows. The chords that keep coming back are D, A7, B7, Em; read them as I–V7–V7/ii–ii in D or III–VII7–V7/iv–iv in Bm. B7 adds a moment of surprise: secondary dominant V/ii — leads to Em. Keep an ear on A7 → D (V7 → I in D, VII7 → III in Bm): authentic cadence — the strongest arrival home. 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.
Grup Gündoğarken - Resimler Resimler 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: İlhan ŞeşenMusic: İlhan Şeşen
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