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)
Bulutsuzluk Özlemi - Bulutsuzluk Özlemi - Chord
Key D major – B minor Chords G, A, D, F#m, F# Easy key C (capo 2)
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Key: D | Bm
Capo: 0
A F#m G D İsteyince yolunda kaygılandığım A F#m G D Uğrunda, koşup yorulup doğrulup beni bulduğum A F#m G D Bulutsuzluk özlemi sardıysa beni A G F# G D Tele vurup çağırmayı kesmem mi lazım A G D Yok, yok, yok A F#m G D Kimi mutlu gibi tedirgin kimi yaslı ben gibi A F#m G D Her devirde evreni devindiren bana hız veren A F#m G D Bulutsuzluk özlemi sardıysa beni A G F# G D Tele vurup çağırmayı kesmem mi lazım A G D Yok, yok, yok A F#m G D Kanat takıp deniz gibi uçmam mı lazım
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Bulutsuzluk Özlemi - Bulutsuzluk Özlemi Tabs
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Harmony analysis
Bulutsuzluk Özlemi – Bulutsuzluk Özlemi: key and chord analysis
The song opens on A and ends on D. 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 D major side because it comes to rest on D, D is heard 11 times while Bm never appears and the major V chord points straight at Bm. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.
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 | 11× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 7× |
| III | F# | Chromatic colour chordoutside the key | F# · A# · C# | 2× |
| IV | G | Subdominant — moves away from home | G · B · D | 13× |
| V | A | Dominant — strongest pull home | A · C# · E | 11× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | — |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | — |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 11× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 7× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 2× |
| VI | G | Submediant — warm colour | G · B · D | 13× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 11× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 44 times in total; 4 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.
Chord movement
- G D DIV → Iplagal cadence BmVI → III ×11
The move to watch is G → D, heard 11 times. From the D side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Bm side it is VI → III. 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 G, land on G, B, D — 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- When F# 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
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is A; the ear learns where home is within a second. The backbone is G, A, D, F#m — IV–V–I–iii from the D side, VI–VII–III–v from the Bm side. F# is the interesting twist: in D it is a chromatic chord (III), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G → D (IV → I in D, VI → III in Bm): plagal cadence — the soft 'amen' ending. The final chord is D; the ear comes to rest in D.
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.
Bulutsuzluk Özlemi - Bulutsuzluk Özlemi 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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