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)
Bülent Ortaçgil - Bu Su Hiç Durmaz - Chord
Key A major – F# minor Chords Bm, A, F#m, D, C#m, E Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
F#m D E C#m F#m Bm E
F#m
F#m
Kar gibi örttün üstünü, içinde tüm çiçekler
Bm A D A
Birer birer titrediler
F#m
Uykusuzlugundan belli, kafanda birikintiler
Bm A D A
Teker teker döküldüler
Bm C#m
Sen hep kendine önlemler aldın
Bm C#m
Ben kendime yasaklar koydum
Bm C#m
Önümüzde barajlar var
D C#m Bm
Bu su hiç durmaz
A F#m
Bu su hiç durmaz
F#m D E C#m F#m Bm E
F#m
Yaşamak dopdoluydu akan pınarlar gibi
Bm A D A
İnanmayanlar beklediler
F#m
Umutlarını borç verdin, cebinde hiç kalmadı
Bm A D A
Dostların anlamadılar
Bm C#m
Sen hep kendine önlemler aldın
Bm C#m
Ben kendime yasaklar koydum
Bm C#m
Önümüzde barajlar var
D C#m Bm
Bu su hiç durmaz
A F#m
Bu su hiç durmaz
F#m
Nar gibi güzelligin gizliydi vereceklerin fazlaydı
Bm A D A
İnsanlar inanmadılar
F#m
Sustun sustun konuşmadın, sonra kaçtın arkana bakmadan
Bm A D A
İnsanlar şaşırdılar
End of song Play again?
Bülent Ortaçgil - Bu Su Hiç Durmaz Tabs
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Harmony analysis
Bülent Ortaçgil – Bu Su Hiç Durmaz: key and chord analysis
The song opens on F#m and ends on A. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A major side because it comes to rest on A, it opens on F#m and A is heard 14 times against 13 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | 14× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 16× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 10× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 10× |
| V | E | Dominant — strongest pull home | E · G# · B | 4× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 13× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 13× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 14× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 16× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 10× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 10× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 4× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 67 times in total; 6 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
- D A AIV → Iplagal cadence F#mVI → III ×6
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×2
- D E AIV → VIV → V F#mVI → VIIVI → VII ×2
- C#m F#m Aiii → vi F#mv → inatural-minor cadence ×2
- Bm E Aii → Vii → V F#miv → VII ×2
The move to watch is D → A, heard 6 times. From the A side it reads IV → I (plagal cadence: the soft 'amen' ending); from the F#m side it is VI → III. 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 A, land on A, C#, E — 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 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening F#m lays a solid floor for everything that follows. Bm, A, F#m, D carry the song: ii–I–vi–IV relative to A, iv–III–i–VI relative to F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → A (IV → I in A, VI → III in F#m): plagal cadence — the soft 'amen' ending. Ending on A, the song seals A 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.
Bülent Ortaçgil - Bu Su Hiç Durmaz 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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