Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Dolu Kadehi Ters Tut - Bu B-k - Chord
Key C major – A minor Chords Dm7, Am7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Dm7 Dm7 Am7 Am7
Dm7
Biz bu b-ka nası başladık?
Bilmem ama bence tam bi’ saçmalık
Am7
Ve birden hatırlar oldum şimdi nedenini
Unutabilmek için nedenimi
Dm7
Sandım yapcak bi’ şey kalmamıştı
Derdim yok her şeyi kavramıştım
Am7
Belli ki benim için bir kaçıştı
O çünkü güya beni anlamıştı
Dm7 Am7
Kaygılar büyüdüler verdiğiniz her tavsiyede
Her tavsiyede
Dm7 Am7
Sorunlar geçti derken oldular koca bi’ anksiyete
Koca bi’ anksiyete
Dm7
Sarmayınca olmuyor nasılsa
Am7
Ama yakmadan da şu kafa bi’ çalışsa
Bi’ çalışsa
Dm7
Gitmez oldu hiçbi’ şey yolunda
Am7
Ben de çözmeliydim elbet en sonunda
Kaldım zorunda
Dm7
Biz bu boka nası başladık?
Bilmem ama bence tam bi’ saçmalık
Am7
Ve birden hatırlar oldum şimdi nedenini
Unutabilmek için nedenimi
Dm7
Sandım yapcak bi’ şey kalmamıştı
Derdim yok her şeyi kavramıştım
Am7
Belli ki benim için bir kaçıştı
O çünkü güya beni anlamıştı
End of song Play again?
Dolu Kadehi Ters Tut - Bu B-k Tabs
NotesX
Harmony analysis
Dolu Kadehi Ters Tut – Bu B-k: key and chord analysis
The song opens on Dm7 and ends on Am7. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because it comes to rest on Am and Am is heard 10 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 10× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 10× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 10× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 10× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 2 different chords appear 20 times in total; 2 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
- Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×9
The move to watch is Dm7 → Am7, heard 9 times. From the Am side it is iv7 → i7 (minor plagal: deep and melancholic); from the C side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm 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 Dm7; the ear learns where home is within a second. The chords that keep coming back are Dm7, Am7; read them as ii7–vi7 in C or iv7–i7 in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Am7 (ii7 → vi7 in C, iv7 → i7 in Am): minor plagal — deep and melancholic. The final chord is Am7; the ear comes to rest in Am.
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.
Dolu Kadehi Ters Tut - Bu B-k 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: Dolu Kadehi Ters TutMusic: Dolu Kadehi Ters Tut
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