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)
Demet Sağıroğlu - Nar Tanem - Chord
Key D major – B minor Chords Bm, E, A, C#m7b5, Em, D, G, F# … Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm Bm Bm Bm C#m7b5 C#m7b5 Bm F#m7
Bm
Bm E Bm
Bir geçen yazın sonrası
E A D A
Sonbahar sancısı, nar tanem
Bm E Bm
İçimde bilinmeyen aşkların
E A D A
Yarım kalan şarkısı, nar tanem
Bm G Em F#
Güneşin ışıkları ısıtmıyor artık
Bm G Em F#
Geceler her gün daha uzuyor nar tanem
Bm C#m7b5 Bm Em
Dışarda sonbahar, gönlümde sonbahar
Bm Bbdim7
Geçiyor kuşlar göçüyor kuşlar
Bm
Yanar ateşler dağlarda nar tanem
C#m7b5 Bm F#m7
Ve senin sevgin gönlümde
Bm E Bm
Bir geçen yazın sonrası
E A D A
Sonbahar sancısı, nar tanem
Bm E Bm
Dışarıda sararan yaprakları
E A D A
Kovalıyor rüzgarlar, nar tanem
Bm G Em F#
Ne zaman, ne zaman, geleceksin sen
Bm G Em F#
Ne zaman kavuşmak sana nar tanem
Bm C#m7b5 Bm Em
Dışarıda sonbahar, gönlümde sonbahar
Bm Bbdim7
Ne zaman, ne zaman, ne zaman
Bm
Yanar ateşler dağlarda nar tanem
C#m7b5 Bm F#m7
Ve senin sevgin gönlümde
End of song Play again?
Demet Sağıroğlu - Nar Tanem Tabs
NotesX
Harmony analysis
Demet Sağıroğlu – Nar Tanem: key and chord analysis
The song opens on Bm and ends on F#m7. 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)
- #7 = A# (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 B minor side because it opens on Bm, Bm is heard 28 times against 4 for D and the major V chord points straight at Bm. 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 | 4× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 6× |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 8× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 3× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 4× |
| IV | G | Subdominant — moves away from home | G · B · D | 4× |
| V | A | Dominant — strongest pull home | A · C# · E | 8× |
| vii°7/vi | Bbdim7 | Secondary leading-tone chord vii°7/vi — leads to Bmsecondary dominant | Bb · Db · Fb · G | 2× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 28× |
| viiø7 | C#m7b5 | Leading-tone chord — tension | C# · E · G · B | 6× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 28× |
| iiø7 | C#m7b5 | Supertonic — prepares the dominant | C# · E · G · B | 6× |
| III | D | Relative major — the bright side | D · F# · A | 4× |
| iv | Em | Subdominant — moves away from home | E · G · B | 6× |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 8× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 3× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 4× |
| VI | G | Submediant — warm colour | G · B · D | 4× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 8× |
| #vii°7 | Bbdim7 | Leading-tone chord (harmonic minor)harmonic minor | Bb · Db · Fb · G | 2× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 10 different chords appear 73 times in total; 7 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F# / Bbdim7 is V/vi, a secondary dominant heading for Bm. E acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A D DV → Iauthentic cadence BmVII → III ×4
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×4
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×4
- Em F# Dii → V/vi Bmiv → Viv → V ×4
- Em Bm Dii → vi Bmiv → iminor plagal ×2
- F#m7 Bm Diii7 → vi Bmv7 → inatural-minor cadence ×2
The move to watch is A → D, heard 4 times. From the Bm side it is VII → III; from the D side it reads V → I (authentic cadence: the strongest arrival 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — 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.
- When F# comes, swap the scale's A for A#: 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 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
The opening Bm lays a solid floor for everything that follows. Bm, E, A, C#m7b5 carry the song: vi–V/V–V–viiø7 relative to D, i–IV–VII–iiø7 relative to Bm. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → D (V → I in D, VII → III in Bm): authentic cadence — the strongest arrival home. It closes on F#m7, 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.
Demet Sağıroğlu - Nar Tanem 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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