Duman - Sevdim Desem - Chord

Key D major – B minor Chords Em, A, Am, Bbdim, Bm, G, E7, C Easy key G (capo 7)

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Capo 0

G  E7  A  Bbdim  Bm  A  Em

A  Em  Am  Em  Am  Em  Am  Em

G             E7
Sevdim desem, derken delirsem 
A           Bbdim     Bm       A      Em
Sevgilimden ayrıldım, ayrıldım aldırmasam 
G            E7
Öldüm desem, derken dirilsem 
A           Bbdim     Bm       A      Em
Sevgilimden ayrıldım, ayrıldım aldırmasam 

A               Bbdim
Bekler benimle, bir ömür geçer 
     Bm         A       Em
Seni kandırdım, kandırmasam 

A  Em  Am  Em  Am  Em  Am  Em

C      Em  C      Em
Ellerinde, ellerinde 
C            Em
Ayrılmak elinde 

A  Em  Am  Em  Am  Em  Am  Em

G            E7
Aşkım desem, derken sıkılsam 
A           Bbdim     Bm       A      Em
Sevgilimden ayrıldım, ayrıldım aldırmasam 
G              E7
Soğudum desem, derken ısınsam 
A           Bbdim     Bm       A      Em
Sevgilimden ayrıldım, ayrıldım aldırmasam

End of song Play again?

Duman - Sevdim Desem Tabs

NotesX

Harmony analysis

Duman – Sevdim Desem: key and chord analysis

The song opens on G and ends on Em. 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 B minor side because Bm is heard 6 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii	Em	Supertonic — prepares the dominant	E · G · B	21×
V7/V	E7	Secondary dominant V/V — leads to Asecondary dominant	E · G# · B · D	5×
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	5×
V	A	Dominant — strongest pull home	A · C# · E	15×
v	Am	Chromatic colour chordoutside the key	A · C · E	9×
vii°/vi	Bbdim	Secondary leading-tone chord vii°/vi — leads to Bmsecondary dominant	Bb · Db · Fb	6×
vi	Bm	Relative minor — the melancholy side	B · D · F#	6×
bVII	C	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	C · E · G	3×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	6×
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	3×
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	21×
IV7	E7	Major IV — Dorian / melodic-minor colourmodal colour	E · G# · B · D	5×
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	5×
VII	A	Subtonic — steps back to the tonic	A · C# · E	15×
vii	Am	Chromatic colour chordoutside the key	A · C · E	9×
#vii°	Bbdim	Leading-tone chord (harmonic minor)harmonic minor	Bb · Db · Fb	6×

Analysis

The key pair is D major and its relative B minor (2 sharps). 8 different chords appear 70 times in total; 4 of them sit naturally inside the shared scale. E7 acts as a secondary dominant, briefly pointing at another chord of the key. C is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

E7 A DV7/V → Vsecondary resolution BmIV7 → VII ×5
Em A Dii → Vii → V Bmiv → VII ×4

The move to watch is E7 → A, heard 5 times. From the Bm side it is IV7 → VII; from the D side it reads V7/V → V (secondary resolution: E7 resolves a fourth up to A). 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 Em, land on E, G, B — 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
On C, follow the chord's notes (C · E · G) 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

The song's harmonic story

The first chord is G; the ear learns where home is within a second. The backbone is Em, A, Am, Bbdim — ii–V–v–vii°/vi from the D side, iv–VII–vii–#vii° from the Bm side. Bbdim adds a moment of surprise: secondary leading-tone chord vii°/vi — leads to Bm. Keep an ear on E7 → A (V7/V → V in D, IV7 → VII in Bm): secondary resolution — E7 resolves a fourth up to A. It closes on Em, letting the D 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.