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)
Gökhan Türkmen - Para Hala Bende (Aytaç Özgümüş) - Chord
Key D major – B minor Chords G, Bm, Dmaj7, F#m, A, Em7 Easy key G (capo 7)
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Key: D | Bm
Capo: 0
G Bm G Bm G Bm G Bm
G Bm G A G Bm G A
G Dmaj7
Şu kapıdan çıkan kimse geri dönmedi
G Dmaj7
Evim en alt kattaydı atlayanlar ölmedi
Em7 F#m
Önce birkaç sert cümle kurdum
G
Sonra birden durdum
F#m
Yerde 100 lira buldum
G Dmaj7
Cebe attım, kim ne derse yaptım
G Dmaj7 Bm
Ertesi gün kalktım, para hala bende
F#m
Kim ne derse yaptım
G F#m G
Ertesi gün kalktım, para hala bende
G Bm G A G Bm G A
G Dmaj7
Elimi kaldırdım ama garson görmedi
G Dmaj7
Yaptığım şakalara hiçkimse gülmedi
Em7 F#m
Ben de birkaç sert cümle kurdum
G
Sonra birden durdum
F#m
Yerde 100 lira buldum
G Dmaj7
Cebe attım, kim ne derse yaptım
G Dmaj7 Bm
Ertesi gün kalktım, para hala bende
F#m
Kim ne derse yaptım
G F#m G
Ertesi gün kalktım, para hala bende
G Bm G A G Bm G A
End of song Play again?
Gökhan Türkmen - Para Hala Bende (Aytaç Özgümüş) Tabs
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Harmony analysis
Gökhan Türkmen – Para Hala Bende (Aytaç Özgümüş): key and chord analysis
The song opens on G and ends on A. 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 Bm is heard 12 times against 8 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 |
|---|---|---|---|---|
| Imaj7 | Dmaj7 | Tonic — home | D · F# · A · C# | 8× |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 2× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 8× |
| 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 | 6× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 12× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 12× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| IIImaj7 | Dmaj7 | Relative major — the bright side | D · F# · A · C# | 8× |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 2× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 8× |
| 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 | 6× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 66 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
- G Bm DIV → vi BmVI → iVI → i ×10
- G Dmaj7 DIV → Imaj7plagal cadence BmVI → IIImaj7 ×8
- G A DIV → VIV → V BmVI → VIIVI → VII ×6
The move to watch is G → Bm, heard 10 times. From the Bm side it is VI → i (VI → i: falls a half step into home); from the D side it reads IV → vi. 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 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.
- Over Dmaj7, land on D, F#, A — 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 first chord is G; the ear learns where home is within a second. The chords that keep coming back are G, Bm, Dmaj7, F#m; read them as IV–vi–Imaj7–iii in D or VI–i–IIImaj7–v in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Bm (IV → vi in D, VI → i in Bm): VI → i — falls a half step into home. The final chord is A; 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.
Gökhan Türkmen - Para Hala Bende (Aytaç Özgümüş) 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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Lyrics: Kaan BoşnakMusic: Kaan BoşnakArrangement: Aytaç Özgümüş
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