Duman - Bebek - Chord

Key A major – F# minor Chords A, F#m, E, F, Dm, Em Easy key G (capo 2)

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Capo 0

A     F#m      A         F#m
 Geri gel beri gel geri bebek
A      F#m    F            E
 Gözleri sürmeli bebek
A      F#m      A        F#m
 Isırır ısıtır dudakları
A       F#m     F        E
 Islak ıslak öpmek gerek
 
A     F#m      A        F#m
 Geri gel beri gel geri bebek
A  F#m     F     E
   Saçları altın bebek
A   F#m    A      F#m
 Isırır ısıtır bakışları
A     F#m    F        E
 Dönüp dönüp bakmak gerek

A
Gel

F#m        Em           Dm          A
Gitme yalvarırım yalnız koma beni bebek
F#m        E      Dm      A
Dünyalar güzeli biricik bebek
F#m       Em          Dm          A
Hasret ateşiyle kül olmuşum ben bebek
F#m    E      Dm
Alem yıkılsa ararım
 
  A     F#m    A     F#m    A     F#m    F     E
Bebek güzel, bebek tatlı, bebek nazik, bebek narin
  A
Bebek

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Duman - Bebek Tabs

NotesX

Harmony analysis

Duman – Bebek: key and chord analysis

The song opens on A and ends on A. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

7 = G# (leading tone, pulls home)
4 = D (the note that leans on the 3rd)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A major side because it both starts and finishes on A and A is heard 20 times against 19 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	20×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	—
iv	Dm	Minor iv — borrowed from the parallel minorborrowed chord	D · F · A	4×
V	E	Dominant — strongest pull home	E · G# · B	7×
v	Em	Chromatic colour chordoutside the key	E · G · B	2×
bVI	F	Borrowed from the parallel minorborrowed chord	F · A · C	5×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	19×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	19×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	20×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	—
vi	Dm	Chromatic colour chordoutside the key	D · F · A	4×
VII	E	Subtonic — steps back to the tonic	E · G# · B	7×
vii	Em	Chromatic colour chordoutside the key	E · G · B	2×
#VII	F	Chromatic colour chordoutside the key	F · A · C	5×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 57 times in total; 3 of them sit naturally inside the shared scale. F, Dm are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

E A AV → Iauthentic cadence F#mVII → III ×5
Dm A Aiv → Iminor plagal F#mvi → III ×4

The move to watch is E → A, heard 5 times. From the A side it reads V → I (authentic cadence: the strongest arrival home); from the F#m side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — 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 F, follow the chord's notes (F · A · C) 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening A lays a solid floor for everything that follows. The chords that keep coming back are A, F#m, E, F; read them as I–vi–V–bVI in A or III–i–VII–#VII in F#m. F briefly darkens the picture: borrowed from the parallel minor. Keep an ear on E → A (V → I in A, VII → III in F#m): authentic cadence — the strongest arrival home. The final chord is A; the ear comes to rest in A.

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.