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)
Ceylan Ertem - Dönmüyor Geri (Cihan Mürtezaoğlu - Cenk Erdoğan) - Chord
Key D major – B minor Chords A, G, F#m, Bm, D Easy key G (capo 7)
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Key: D | Bm
Capo: 0
D G D G D G D G D A D G Kolundan tutup da getiremem ki D A Bm A Kendimi ben zorla sevdiremem ki A G Silahı çekip de öldüremem ki Bm G A G F#m Dizine kapandım dönmü yor geri Bm A G F#m Bm A G F#m İşteee dostlar budur hal im A G F#m Görmedim ben böyle zalim Bm A G F#m Bm A G F#m Bilsem on u sever mi y dim A G A F#m Dönmüyor dönmüyor dönmüyor geri D A D G Kolundan tutup da getiremem ki D A Bm A Kendimi ben zorla sevdiremem ki A G Silahı çekip de öldüremem ki Bm G A G F#m Dizine kapandım dönmü yor geri Bm A G F#m Bm A G F#m Aldııııı git ti beniiiii benden A G F#m Vurdu beni yüreğimden Bm A G F#m Bm A G F#m Anlamıyooor hiç sevgimden A G A F#m Dönmüyor dönmüyor dönmüyor geri Bm A G F#m Bm A G F#m İşteee dostlar budur hal im A G F#m Görmedim ben böyle zalim Bm A G F#m Bm A G F#m Bilsem on u sever mi y dim A G A F#m Dönmüyor dönmüyor dönmüyor geri
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Ceylan Ertem - Dönmüyor Geri (Cihan Mürtezaoğlu - Cenk Erdoğan) Tabs
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Harmony analysis
Ceylan Ertem – Dönmüyor Geri (Cihan Mürtezaoğlu - Cenk Erdoğan): key and chord analysis
The song opens on D and ends on F#m. 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: we can't honestly pick a side here — the song moves freely between D major and B minor because it opens on D and Bm is heard 16 times against 10 for D. Try reading the chords both ways and see which feels more like home to you.
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 | 10× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 20× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 30× |
| V | A | Dominant — strongest pull home | A · C# · E | 31× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 16× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 16× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 10× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 20× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 30× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 31× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 107 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 ×12
- G D DIV → Iplagal cadence BmVI → III ×6
- G A DIV → VIV → V BmVI → VIIVI → VII ×5
- A D DV → Iauthentic cadence BmVII → III ×2
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×2
- G Bm DIV → vi BmVI → iVI → i ×2
The move to watch is F#m → Bm, heard 12 times. From the D side it reads iii → vi; from the Bm side it is v → i (natural-minor cadence: gentle, modal arrival). 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 A, land on A, C#, E — 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.
- Over F#m, land on F#, A, C# — 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
- 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 D lays a solid floor for everything that follows. A, G, F#m, Bm carry the song: V–IV–iii–vi relative to D, VII–VI–v–i relative to 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. The final chord is F#m; 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.
Ceylan Ertem - Dönmüyor Geri (Cihan Mürtezaoğlu - Cenk Erdoğan) 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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