Kahraman Deniz - Yangının Adı - Chord

Key D major – B minor Chords Bm, Em, A, G, D Easy key G (capo 7)

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Capo 0

Bm  Bm  A  A  G  G  Em  Em

Bm                                        A
İri, kaba saba olsam da vurur tam yüreğimden
                                             G
Diri ya da ölü ele geçirebilir, emin zaferinden
                                  Em
Ama bensiz anlamsız bir düşten ibaret
                                           Bm
Görünce beni, bedeni teslim olur kendiliğinden
                                      A
Kaçamam, kurtulamam beni hapsettiği ağdan
                                       G
Bir örümcek gibi çalışır, ilham karaduldan
                                       Em
Ben neyime güvenip güven istedim ondan

Hep seveceğim derim, ama çok geçmiş o yoldan

Bm                A              G
   Bu nasıl bi’ kadın, bu nasıl ateş

Söndürsem, yangının adı konur
Em                Em  Em
Birkaç dakikamı istedi
       D  D       Bm
Ömrümü versem de olur

Bm                A
Ömrümü versem de olur
                  G
Ömrümü versem de olur
                               Em
Tüm ömrümü versem de olur, ne olur?

Bm                                         A
Hayran kalıyor bana, gerçek beni bilmediğinden
                                G
Çok kaldım, aklından gitmeliyim ben
                                      Em
Yollar bizi bizden koparır, bitmediğinden
                                  Bm
Yanlışı seçmeyi huy edindim yalnızken
                                       A
Onu ne özel, ne de aşırı güzel bulduğumdan
                                        G
Ne de başka biri bana böyle dokunmadığından
                                      Em
Belki de ikimizdeki aynı gönül yarasından
                                           Bm
Ya da beni en çok o istemiş hepsinin arasından

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Kahraman Deniz - Yangının Adı Tabs

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Harmony analysis

Kahraman Deniz – Yangının Adı: 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.

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 B minor side because it both starts and finishes on Bm and Bm is heard 10 times against 2 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	2×
ii	Em	Supertonic — prepares the dominant	E · G · B	10×
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	8×
V	A	Dominant — strongest pull home	A · C# · E	8×
vi	Bm	Relative minor — the melancholy side	B · D · F#	10×
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#	10×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	2×
iv	Em	Subdominant — moves away from home	E · G · B	10×
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	8×
VII	A	Subtonic — steps back to the tonic	A · C# · E	8×

Analysis

The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 38 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

Em Bm Dii → vi Bmiv → iminor plagal ×6

The move to watch is Em → Bm, heard 6 times. From the Bm side it is iv → i (minor plagal: deep and melancholic); from the D side it reads ii → 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — 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.

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. Bm, Em, A, G carry the song: vi–ii–V–IV relative to D, i–iv–VII–VI relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Bm (ii → vi in D, iv → i in Bm): minor plagal — deep and melancholic. It closes on Bm, letting the Bm 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.