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)
Saki - Hayyam - Chord
Key D major – B minor Chords A, F#m, E, Bm, Gmaj7, F#7, D, C#7 … Easy key C (capo 2)
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Key: D | Bm
Capo: 0
A
Dumanlı kafalarda
F#m
Bir sahil kenarında
E A
Yine düştün aklıma
F#m A E
Zamanın ahı çöküyor ruhuma
A
Uçurumun kenarında
A G A
Uçurumun kenarında
D Bm
Bir şarap kadehinde
A Gmaj7
Ellerin sihirinde
F#7
İçiyorum ben yine
C#7 Bm
Varlığım gölgen oldu
Gmaj7
Yürüyor bak seninle
C#m7b5 F#7
Gidiyorum ben yine
D Bm
Bir şarap kadehinde
A Gmaj7
Hayyam'ın şiirinde
F#7
İçiyorum ben yine
C#7 Bm
Varlığım gölgen oldu
Gmaj7
Yürüyor bak seninle
C#m7b5 F#7
Gidiyorum ben yine
A F#m
Sabahın seherinde semanın seyirinde
E A
Gelir miyim hiç aklına
F#m A
Bıraktım benliğimi karılştım rüzgarına
E A
Martıların kanadında
End of song Play again?
Saki - Hayyam Tabs
NotesX
Harmony analysis
Saki – Hayyam: key and chord analysis
The song opens on A and ends on A. 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)
- #7 = A# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because Bm is heard 4 times against 2 for D and the major V chord points straight at Bm. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | 2× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| 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# | 4× |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 4× |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 4× |
| IV | G | Subdominant — moves away from home | G · B · D | 1× |
| V | A | Dominant — strongest pull home | A · C# · E | 12× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 4× |
| viiø7 | C#m7b5 | Leading-tone chord — tension | C# · E · G · B | 2× |
| V7/iii | C#7 | Secondary dominant V/iii — leads to F#msecondary dominant | C# · E# · G# · B | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 4× |
| iiø7 | C#m7b5 | Supertonic — prepares the dominant | C# · E · G · B | 2× |
| V7/v | C#7 | Secondary dominant V/v — leads to F#msecondary dominant | C# · E# · G# · B | 2× |
| III | D | Relative major — the bright side | D · F# · A | 2× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 4× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 4× |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 4× |
| VImaj7 | Gmaj7 | Submediant — warm colour | G · B · D · F# | 4× |
| VI | G | Submediant — warm colour | G · B · D | 1× |
| 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). 10 different chords appear 39 times in total; 7 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F#7 is V7/vi, a secondary dominant heading for Bm. E, C#7 act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- C#m7b5 F#7 Dviiø7 → V7/vi Bmiiø7 → V7ii° → V ×2
- A D DV → Iauthentic cadence BmVII → III ×1
- G A DIV → VIV → V BmVI → VIIVI → VII ×1
The move to watch is C#m7b5 → F#7, heard 2 times. From the Bm side it is iiø7 → V7 (ii° → V: the classic minor-key preparation); from the D side it reads viiø7 → V7/vi. 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 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.
- When F#7 comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
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
- 3 semitones up
The song's harmonic story
The opening A lays a solid floor for everything that follows. The backbone is A, F#m, E, Bm — V–iii–V/V–vi from the D side, VII–v–IV–i from the Bm side. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C#m7b5 → F#7 (viiø7 → V7/vi in D, iiø7 → V7 in Bm): ii° → V — the classic minor-key preparation. The final chord is A; the ear comes to rest in D.
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.
Saki - Hayyam 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: Yasemin Balık AvcıoğluMusic: Serdar AvcıoğluArrangement: Sedat Şenel
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