Bengü - Kapıda Yalnızlık - Chord

Key A major – F# minor Chords Bm, Dbm, F#m, D, Db, E Easy key C

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Capo 0

F#m                           Bm               F#m 
Dinleme duyma sen onlara uyma bu ikimizin hikayesi
Bm                D   Dbm        Bm 
Kaçırma gözünü yutma  şu sözünü akıt gitsin zehrini

Bm              Dbm  
Ağlaya, ağlaya öldük
Bm               Dbm
Ne uçurumlardan döndük
Bm                D               
Hatırla ne olur unuttuysan
Bm                 Db
Biz ne yokuşlar gördük

F#m               Dbm             D
Açma kapıda yalnızlık böylesi haksızlık
                  Dbm      E   Db
Biz istemezsek ayrılık yerimizi bulamaz
F#m               Dbm             D
Açma kapıda yalnızlık böylesi haksızlık
                 Dbm     Bm    F#m
Biz istemezsek ayrılık evimizi bulamaz

F#m                          Bm           F#m      
Neye alındın neye kırıldın anlat ne olur derdini
Bm              D   Dbm        Bm 
Yargısız infaz bu yaptığın sevme bu kadar kendini
                  Dbm  
Ağlaya, ağlaya öldük
Bm               Dbm
Ne uçurumlardan döndük
Bm                D               
Hatırla ne olur unuttuysan
Bm                 Db
Biz ne yokuşlar gördük

End of song Play again?

Bengü - Kapıda Yalnızlık Tabs

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Harmony analysis

Bengü – Kapıda Yalnızlık: key and chord analysis

The song opens on F#m and ends on Db. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

7 = G# (leading tone, pulls home)
4 = D (the note that leans on the 3rd)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)
#7 = E# (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 F# minor side because it opens on F#m, F#m is heard 7 times while A never appears and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
ii	Bm	Supertonic — prepares the dominant	B · D · F#	14×
iii	Dbm	Mediant — a tonic-family shade	Db · Fb · Ab	10×
V/vi	Db	Secondary dominant V/vi — leads to F#msecondary dominant	Db · F · Ab	3×
IV	D	Subdominant — moves away from home	D · F# · A	6×
V	E	Dominant — strongest pull home	E · G# · B	1×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	7×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	7×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
iv	Bm	Subdominant — moves away from home	B · D · F#	14×
v	Dbm	Minor dominant — soft pull	Db · Fb · Ab	10×
V	Db	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Db · F · Ab	3×
VI	D	Submediant — warm colour	D · F# · A	6×
VII	E	Subtonic — steps back to the tonic	E · G# · B	1×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 41 times in total; 5 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same Db is V/vi, a secondary dominant heading for F#m.

Chord movement

Bm F#m Aii → vi F#miv → iminor plagal ×3
Db F#m AV/vi → vi F#mV → iharmonic-minor cadence ×2
Bm Db Aii → V/vi F#miv → Viv → V ×2

The move to watch is Bm → F#m, heard 3 times. From the F#m side it is iv → i (minor plagal: deep and melancholic); from the A side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over Dbm, land on Db, Fb, Ab — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
When Db comes, swap the scale's E for E#: 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on F#m, the song gives away its key from the very first bar. The backbone is Bm, Dbm, F#m, D — ii–iii–vi–IV from the A side, iv–v–i–VI from the F#m side. Db is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bm → F#m (ii → vi in A, iv → i in F#m): minor plagal — deep and melancholic. It closes on Db, letting the A 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.