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)
Bülent Ortaçgil - Denize Doğru - Chord
Key D major – B minor Chords A, G, Bm, F#m, G#, A#, Gm, Cm … Easy key E
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Key: D | Bm
Capo: 0
Bm F#m G A Bm
Çözdüm, her şey çok basit denize doğru
F#m G A D
Üç beş dakika yeter derdimi anlatmaya
A Bm F#m G
Zaten çoğu şey değmez çok konuşmaya
A Bm F#m G
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A Bm F#m G
Denize doğru
Bm F#m G A Bm
Düşlerimde bile kaçtım denize doğru
F#m G A D
Aslında kaçmak değil, sevgiye koşmak
A Bm F#m G
Sessizdiler ama çoktular, biraz deli biraz çocuktular
A Bm F#m G
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A Bm F#m G D
Denize doğru
A C G D
Kolunu kaptıranlara çare bulunmaz
A C G D
Yaşam bizden hızlı, beklesen olmaz
F#m G
Kararımı çoktan verdim
A Bm F#m G
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A Bm
Denize doğru
D A C G
Bm F#m G A Bm
Gülmez çünkü hiç bilmez, dertleri ağır
F#m G A D
Bütün kapılar çalınır, ama bilgeler sağır
A Bm F#m G
Mışlar mişler, ne demişler, burada bulamamışlar
A Bm F#m G
Denize doğru
A Bm
Denize doğru
Cm Gm G# A# Cm
Gittim çünkü eskittim kentin sokaklarını
Gm G# A# D#
Kimsenin umurunda değil, suratlar soğuk
A# Cm Gm G#
Ardımda çok şey bırakmadım, kalanları da almadım
A# Cm Gm G#
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A# Cm Gm
Denize doğru
D# A# C# G# D#
Adını düşürenlere üzülsen değmez
A# C# G# D#
Sesini kaybedenlerin bir şarkısı olmaz
Gm G#
Kararımı çoktan verdim,
A# Cm Gm G#
Denize doğru
A# Cm Gm G#
Denize doğru
A# Cm Gm G#
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Bülent Ortaçgil - Denize Doğru Tabs
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Harmony analysis
Bülent Ortaçgil – Denize Doğru: key and chord analysis
The song opens on Bm and ends on G#. 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: to us the song feels closer to the B minor side because it opens on Bm and Bm is heard 17 times against 7 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | 7× |
| bII | D# | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | D# · G · A# | 4× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 16× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 19× |
| iv | Gm | Minor iv — borrowed from the parallel minorborrowed chord | G · Bb · D | 9× |
| #IV | G# | Chromatic colour chordoutside the key | G# · B# · D# | 10× |
| V | A | Dominant — strongest pull home | A · C# · E | 20× |
| bVI | A# | Borrowed from the parallel minorborrowed chord | A# · D · E# | 10× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 17× |
| bvii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 8× |
| bVII | C | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | C · E · G | 3× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| V/iii | C# | Secondary dominant V/iii — leads to F#msecondary dominant | C# · E# · G# | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 17× |
| bii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 8× |
| bII | C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C · E · G | 3× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| V/v | C# | Secondary dominant V/v — leads to F#msecondary dominant | C# · E# · G# | 2× |
| III | D | Relative major — the bright side | D · F# · A | 7× |
| #III | D# | Chromatic colour chordoutside the key | D# · G · A# | 4× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 16× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 19× |
| vi | Gm | Chromatic colour chordoutside the key | G · Bb · D | 9× |
| #VI | G# | Chromatic colour chordoutside the key | G# · B# · D# | 10× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 20× |
| #VII | A# | Chromatic colour chordoutside the key | A# · D · E# | 10× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 12 different chords appear 125 times in total; 5 of them sit naturally inside the shared scale. C# acts as a secondary dominant, briefly pointing at another chord of the key. A#, Gm, D#, C are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×14
- G A DIV → VIV → V BmVI → VIIVI → VII ×14
- A D DV → Iauthentic cadence BmVII → III ×3
- G D DIV → Iplagal cadence BmVI → III ×3
- G Bm DIV → vi BmVI → iVI → i ×2
The move to watch is A → Bm, heard 14 times. From the Bm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the D side it reads V → vi (deceptive cadence: expected D, lands on Bm). 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- On A#, follow the chord's notes (A# · D · E#) rather than the key's scale — it's a borrowed colour.
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 up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Bm; the ear learns where home is within a second. The backbone is A, G, Bm, F#m — V–IV–vi–iii from the D side, VII–VI–i–v from the Bm side. C# adds a moment of surprise: secondary dominant V/iii — leads to F#m. Keep an ear on A → Bm (V → vi in D, VII → i in Bm): Aeolian arrival — rises a whole tone into home. The final chord is G#; 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.
Bülent Ortaçgil - Denize Doğru 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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