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)
Ankaralı Coşkun - Ankaranın Bağları - Chord
Key D major – B minor Chords A, F#m, Bm, D, G, E Easy key C (capo 2)
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Key: D | Bm
Capo: 0
D A Bm A Bm A G F#m
F#m E D F#m
İp attım ucu kaldı da daraz da gücü kaldı
D A Bm A
Ben sevdim eller aldı içimde acı kaldı
Bm A G F#m
Ben sevdim eller aldı da içimde acı kaldı
D A
Ankara'nın bağları da
Bm A
Büklüm, büklüm yolları
Bm
Ne zaman sarhoş oldun da
A G F#m
Kaldıramıyon kolları
F#m E D F#m
Anmayı yüke koydun da, ağzını büke koydum
D A Bm A
Aldın yari elimden, boynumu büke koydun
Bm A G F#m
Aldın yari elimden, boynumu büke koydun
F#m E D F#m
Astarda urganım varda, yün basma yorganım var
D A Bm A
O yar senin derlerse de on koyun kurbanım var
Bm A G F#m
O yar benim derlerse, on koyun kurbanım var
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Ankaralı Coşkun - Ankaranın Bağları Tabs
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Harmony analysis
Ankaralı Coşkun – Ankaranın Bağları: 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 10 times against 8 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 | 8× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 3× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 11× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 5× |
| V | A | Dominant — strongest pull home | A · C# · E | 15× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 10× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 10× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 8× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 3× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 11× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 5× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 15× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 52 times in total; 5 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×10
The move to watch is A → Bm, heard 10 times. From the D side it reads V → vi (deceptive cadence: expected D, lands on Bm); from the Bm side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 F#m, land on F#, A, C# — 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.
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
Starting on D, the song gives away its key from the very first bar. A, F#m, Bm, D carry the song: V–iii–vi–I relative to D, VII–v–i–III relative to Bm. E adds a moment of surprise: secondary dominant V/V — leads to A. Keep an ear on A → Bm (V → vi in D, VII → i in Bm): deceptive cadence — expected D, lands on Bm. It closes on F#m, letting the D 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.
Ankaralı Coşkun - Ankaranın Bağları 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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