Birileri - Dünyayı Kaldıran Adam - Chord

Key D major – B minor Chords D, G, A, Em, F, C, B Difficulty already in its easiest key

Add to Repertoire

No ratings yet

or your user informations

Capo 0

D  G  D  G  A  D

D                G         A  D
Sahneye çık ve seyirciyi selamla
D              G      A   D
Meraklı gözleri bak üzerinde
D                 G        A     D
Önce sıkı bir amut ya da geri takla
D               G      A      D
Heyecanı doruğa doruğa tırmandır, hadi

F                G        A
O bardaklar da neyin nesi şimdi
F                    G        A
Ya o tahtalar ne işe yarayacaklar
F           G        C         F
Diye geçirdi izleyenler içlerinden
             C  B
Şimdi ne olacaaaaak

Em  Em  Em  Em
Em  Em  D   Em
Em  Em  F   F  G  A

D       G        A  D
Dünyayı kaldıran adaam
D          G       A    D
Yürekleri ağızlara getirdi
D       G        A  D
Dünyayı kaldıran adaam
D               G         A    D
Tehlikeyle dolu bir hayat geçirdi

End of song Play again?

Birileri - Dünyayı Kaldıran Adam Tabs

NotesX

Harmony analysis

Birileri – Dünyayı Kaldıran Adam: 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 D is heard 20 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	20×
ii	Em	Supertonic — prepares the dominant	E · G · B	9×
bIII	F	Borrowed from the parallel minorborrowed chord	F · A · C	6×
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	14×
V	A	Dominant — strongest pull home	A · C# · E	12×
vi	Bm	Relative minor — the melancholy side	B · D · F#	—
V/ii	B	Secondary dominant V/ii — leads to Emsecondary dominant	B · D# · F#	1×
bVII	C	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	C · E · G	2×
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#	—
V/iv	B	Secondary dominant V/iv — leads to Emsecondary dominant	B · D# · F#	1×
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	2×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	20×
iv	Em	Subdominant — moves away from home	E · G · B	9×
#IV	F	Chromatic colour chordoutside the key	F · A · C	6×
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	14×
VII	A	Subtonic — steps back to the tonic	A · C# · E	12×

Analysis

The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 64 times in total; 4 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key. F, C are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G A DIV → VIV → V BmVI → VIIVI → VII ×12
A D DV → Iauthentic cadence BmVII → III ×10
G D DIV → Iplagal cadence BmVI → III ×1

The move to watch is G → A, heard 12 times. From the D side it reads IV → V (IV → V: the lift that builds tension before home); from the Bm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 G, land on G, B, D — 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.
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 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

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is D; the ear learns where home is within a second. The chords that keep coming back are D, G, A, Em; read them as I–IV–V–ii in D or III–VI–VII–iv in Bm. B adds a moment of surprise: secondary dominant V/ii — leads to Em. Keep an ear on G → A (IV → V in D, VI → VII in Bm): IV → V — the lift that builds tension before home. It closes on D, 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.