Emir Can İğrek - Aylak - Chord

Key D major – B minor Chords Bm, A, Em, F#m, D Easy key C (capo 2)

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Capo 0

F#m    Bm   A                   Em
Aaaaaylaaak geziyorum hayatının sokaklarında
F#m    Bm   A        Em       Bm
Haaaaalaaaa okunuyor selaları vedaların da

Bm
Bak güzelim senin için
Em
Ölmeyi ertelemişim
A
Görmeyi perdelemişim
D        F#m
Şu dar sokakta

Bm
Kaşı gözü yarmışım da
Em
Öpmüşüm bu kaldırımı
A 
Yazmışım destanlarımı
D      F#m
Kendi çapımda

Bm 
Çalmışım bi ara kalbini
       Em
Yerine koymuşum hiç dokunmadan
A                   Bm
Bari hükmün kefareti olsun

Bm
Geldim öyle kucağına
Em
Tamam dünyanın yok ama
A                   Bm
Bari senin adaletin olsun

F#m    Bm   A                   Em
Aaaaaylaaak geziyorum hayatının sokaklarında
F#m    Bm   A        Em       Bm
Haaaaalaaaa okunuyor selaları vedaların da

End of song Play again?

Emir Can İğrek - Aylak Tabs

NotesX

Harmony analysis

Emir Can İğrek – Aylak: key and chord analysis

The song opens on F#m 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 comes to rest on Bm and Bm is heard 12 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	8×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	6×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	—
V	A	Dominant — strongest pull home	A · C# · E	8×
vi	Bm	Relative minor — the melancholy side	B · D · F#	12×
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#	12×
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	8×
v	F#m	Minor dominant — soft pull	F# · A · C#	6×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	—
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 36 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

F#m Bm Diii → vi Bmv → inatural-minor cadence ×6
Em A Dii → Vii → V Bmiv → VII ×4
A D DV → Iauthentic cadence BmVII → III ×2
Em Bm Dii → vi Bmiv → iminor plagal ×2
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×2

The move to watch is F#m → Bm, heard 6 times. From the Bm side it is v → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii → 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 A, land on A, C#, E — 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.

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
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening F#m lays a solid floor for everything that follows. The chords that keep coming back are Bm, A, Em, F#m; read them as vi–V–ii–iii in D or i–VII–iv–v in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m → Bm (iii → vi in D, v → i in Bm): natural-minor cadence — gentle, modal arrival. 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.