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)
Ryok - Durduramam - Chord
Key D major – B minor Chords Bm, A, F#7, Em, Gmaj7, G Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm
Kısa bir hikaye gibisi var mı
A
Onunla şarkılar anlam kazandı
Gmaj7
Bu kadar kaba olunmaz ki
F#7
Böyle bırakıp gidilmez ki
Bm
Kısa bir hikaye gibisi var mı
A
Onunla şarkılar anlam kazandı
Gmaj7
Bu kadar kaba olunmaz ki
F#7
Böyle bırakıp gidilmez ki
Em A
Daha önce hiç olmadığım biri gibi sevdim
Bm
Ama işe yaramadı
Em F#7
Daha önce hiç olmadığım biri gibi sevdim
Bm
Giden gider, zaman geçer
G
Durduramam, durduramam
Em
Onun planları başka
A Bm
Yanımda olsaydı keşke, bilmem
Em F#7
Onun planları başkaa
Bm
Kısa bir hikaye gibisi var mı
A
Yeniden görür müyüm aklım kaldı
Gmaj7
Adanmak için sabırsızdım
F#7
Oysa yeterince acımasızdı
Bm
Kısa bir hikaye gibisi var mı
A
Yeniden görür müyüm aklım kaldı
Gmaj7
Adanmak için sabırsızdım
F#7
Oysa yeterince acımasızdı
Em A
Daha önce hiç olmadığım biri gibi sevdim
Bm
Ama işe yaramadı
Em F#7
Daha önce hiç olmadığım biri gibi sevdim
Bm
Giden gider, zaman geçer
G
Durduramam, durduramam
Em
Onun planları başka
A Bm
Yanımda olsaydı keşke, bilmem
Bm
Giden gider, zaman geçer
G
Durduramam, durduramam
Em F#7
Onun planları başkaaa
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Ryok - Durduramam Tabs
NotesX
Harmony analysis
Ryok – Durduramam: key and chord analysis
The song opens on Bm and ends on F#7. 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)
- #7 = A# (harmonic-minor leading tone from the V chord)
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, Bm is heard 11 times while D never appears and the major V chord points straight at Bm. 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 | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 8× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 8× |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 4× |
| IV | G | Subdominant — moves away from home | G · B · D | 3× |
| V | A | Dominant — strongest pull home | A · C# · E | 8× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 11× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 11× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | 8× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 8× |
| VImaj7 | Gmaj7 | Submediant — warm colour | G · B · D · F# | 4× |
| VI | G | Submediant — warm colour | G · B · D | 3× |
| 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). 6 different chords appear 42 times in total; 5 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F#7 is V7/vi, a secondary dominant heading for Bm.
Chord movement
- F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×5
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×4
- Em A Dii → Vii → V Bmiv → VII ×4
- Em F#7 Dii → V7/vi Bmiv → V7iv → V ×4
The move to watch is F#7 → Bm, heard 5 times. From the Bm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi (secondary resolution: F#7 resolves a fourth up to 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 Bm, land on B, D, F# — 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.
- Over F#7, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- When F#7 comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
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
Starting on Bm, the song gives away its key from the very first bar. The chords that keep coming back are Bm, A, F#7, Em; read them as vi–V–V7/vi–ii in D or i–VII–V7–iv in Bm. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm (V7/vi → vi in D, V7 → i in Bm): harmonic-minor cadence — the major V resolves dramatically. It closes on F#7, letting the D 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.
Ryok - Durduramam 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: Aykut KaratayMusic: Ryok
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