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)
Selçuk Balcı - Gül Sevdik Dikeni Kader (Bahadır Tatlıöz) - Chord
Key D major – B minor Chords F#m7, Em7, Gmaj7, Bm, A Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm F#m7 Yine kara gözlerin fikrime bilmece Em7 F#m7 Göğsüme taş gibi oturur her gece Gmaj7 F#m7 Bir de seni özledum yetmiyor ya keder Em7 F#m7 Gül sevduk dikeni kader Bm F#m7 Em7 F#m7 Gmaj7 F#m7 Em7 F#m7 Bm Gmaj7 Ne zaman aklıma düşersen Em7 F#m7 O vakit kavrulur içim Bm Gmaj7 Ne zaman bir başıma kalsam Em7 F#m7 O vakit hep yangın içim Gmaj7 Em7 Yağmura saklanıyor sinsi gölgeler A Em7 F#m7 Dar günde vurmak için Bm F#m7 Yine kara gözlerin fikrime bilmece Em7 F#m7 Göğsüme taş gibi oturur her gece Gmaj7 F#m7 Bir de seni özledum yetmiyor ya keder Em7 F#m7 Gül sevduk dikeni kader
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Selçuk Balcı - Gül Sevdik Dikeni Kader (Bahadır Tatlıöz) Tabs
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Harmony analysis
Selçuk Balcı – Gül Sevdik Dikeni Kader (Bahadır Tatlıöz): key and chord analysis
The song opens on Bm and ends on F#m7. 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 B minor side because it opens on Bm and Bm is heard 5 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 10× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 15× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 6× |
| V | A | Dominant — strongest pull home | A · C# · E | 1× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 5× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 5× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 10× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 15× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VImaj7 | Gmaj7 | Submediant — warm colour | G · B · D · F# | 6× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 1× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 37 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- F#m7 Bm Diii7 → vi Bmv7 → inatural-minor cadence ×4
- Em7 A Dii7 → Vii → V Bmiv7 → VII ×1
The move to watch is F#m7 → Bm, heard 4 times. From the Bm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii7 → 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 F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Gmaj7, land on G, B, D — 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 Bm lays a solid floor for everything that follows. The chords that keep coming back are F#m7, Em7, Gmaj7, Bm; read them as iii7–ii7–IVmaj7–vi in D or v7–iv7–VImaj7–i in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m7 → Bm (iii7 → vi in D, v7 → i in Bm): natural-minor cadence — gentle, modal arrival. The final chord is F#m7; 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.
Selçuk Balcı - Gül Sevdik Dikeni Kader (Bahadır Tatlıöz) 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: Bahadır TatlıözMusic: Bahadır TatlıözArrangement: Bahadır Tatlıöz
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