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)
E) Hiçbiri - Periler - Chord
Key D major – B minor Chords Bm, D, G, A, Bb Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm D
Zor günler zor
G A Bm
Aklım yerinde durmuyor
D
Ol güçlü ol
G A Bm
Olabilirsen durabilirsen kalabilirsen
D
Doy kedere doy
G A Bm
Doydukça acıkacaksın
D
Sorma neden diye
G A Bm
Fırtına dinince anlayacaksın
Bm D
Sınanmaya doymadık
G
Kimseyi koymadık
A Bm
Sevgimizin yerine
D
Günler geçmiyor
G
Acı hiç bitmiyor
A Bm
Sormadan neden diye
Bm D
Cevap bulmadığın sorular
G
Yerime koyduğun kişiler
A
Yanında durmadı sana inanmadı
Bb Bm
Bırakıp gitmiş gibiler
D
Geri dönmeyecek gemiler
G
Bir ömür bekler deliler
A
Hep masal anlatır, umutlandırır
Bb Bm
Şu masum periler
Bm D G A Bb Bm
x2
Bm D
Sınanmaya alıştık biz (Biz!)
G
Kanımıza karıştı aşk (Aşk!)
A Bm
Zehriyle yarıştı kalbim (Kalbim!)
D
Günler geçmiyor (Geçsin!)
G
Acı hiç bitmiyor (Bitsin!)
A Bm
Sormadan neden diye
Bm D G A Bb Bm
x3
Ah masum periler!
End of song Play again?
E) Hiçbiri - Periler Tabs
NotesX
Harmony analysis
E) Hiçbiri – Periler: 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 18 times against 12 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 | 12× |
| 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 | 12× |
| V | A | Dominant — strongest pull home | A · C# · E | 12× |
| bVI | Bb | Borrowed from the parallel minorborrowed chord | Bb · D · F | 4× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 18× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 18× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 12× |
| 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 | 12× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 12× |
| #VII | Bb | Chromatic colour chordoutside the key | Bb · D · F | 4× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 58 times in total; 4 of them sit naturally inside the shared scale. Bb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- G A DIV → VIV → V BmVI → VIIVI → VII ×12
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×8
The move to watch is G → A, heard 12 times. From the Bm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the D side it reads IV → V (IV → V: the lift that builds tension before home). 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 D, land on D, F#, A — 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.
- On Bb, follow the chord's notes (Bb · D · F) rather than the key's scale — it's a borrowed colour.
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 chords that keep coming back are Bm, D, G, A; read them as vi–I–IV–V in D or i–III–VI–VII in Bm. Bb briefly darkens the picture: borrowed from the parallel minor. Keep an ear on G → A (IV → V in D, VI → VII in Bm): VI → VII — the rising step that heads for the tonic. 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.
E) Hiçbiri - Periler 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: E) Hiçbiri Music: E) Hiçbiri Arrangement: E) Hiçbiri
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