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)
Perdenin Ardındakiler - Gizli Gizli - Chord
Key D major – B minor Chords A, Bm, G, D Easy key G (capo 7)
No ratings yet
or your user informations
Make it yours
Text size
Key: D | Bm
Capo: 0
Bm A D G A
Bm A D G A
Topladım bavulları bugün gidiyorum
Bm A D G A
Kendimde değilim, yine
Bm A D G
Son kez karşında bekliyorum
A Bm A D G
Beni dudağına koy, yak ve kül et diye
Bm A G
Gizli gizli öpüştüğümüz kapkaranlık sokaklardan
A Bm
Göğe baktığımız o buz gibi duraklardan
A
İzlerimiz silinmiş bu şehir aynılaşmış
G A Bm A D G A
Bak, kokun yarınlara kalmış inan
Bm A D G A
Bu topluma isyan ettim bugün
Bm A D G A
İçinde sen yoksun diye
Bm A D G A
Artık her şehir anlamsız gelir
Bm A D G
Beni öp sonra, unut yine
Bm A G
Gizli gizli öpüştüğümüz kapkaranlık sokaklardan
A Bm
Göğe baktığımız o buz gibi duraklardan
A
İzlerimiz silinmiş bu şehir aynılaşmış
G A Bm
Bak, kokun yarınlara kalmış inan
End of song Play again?
Perdenin Ardındakiler - Gizli Gizli Tabs
NotesX
Harmony analysis
Perdenin Ardındakiler – Gizli Gizli: key and chord analysis
The song opens on Bm and ends on Bm. 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 both starts and finishes on Bm and Bm is heard 15 times against 10 for D. 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 | 10× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| 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 | 26× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 15× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 15× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 10× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| 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 | 26× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 65 times in total; 4 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
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×12
- G A DIV → VIV → V BmVI → VIIVI → VII ×12
- A D DV → Iauthentic cadence BmVII → III ×10
- G Bm DIV → vi BmVI → iVI → i ×2
The move to watch is A → Bm, heard 12 times. From the Bm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the D side it reads V → vi (deceptive cadence: expected D, lands on Bm). 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 Bm, land on B, D, F# — 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.
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
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. The backbone is A, Bm, G, D — V–vi–IV–I from the D side, VII–i–VI–III from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → Bm (V → vi in D, VII → i in Bm): Aeolian arrival — rises a whole tone into home. Ending on Bm, the song seals Bm as home.
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.
Perdenin Ardındakiler - Gizli Gizli 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Doruk EreşterMusic: Direnc
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.