Volkan Konak - Halide - Chord

Key D major – B minor Chords F#, G, Bm, Em, A Easy key C (capo 2)

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Capo 0

Bm           
Küreklan küresunler, Erzurum'un karini
             Em                    F#
Boylari gibi narin, yapsunler mezarini

F#                G        F#
Arabanın üstüne, bağladi yatağini
Bm         G         Em       F#
Ağlamalan tüketti, zigananun dağıni

F#              G          F#
Zigananun dağında, oturdi yemek yedi
Bm         G         Em          F#    
Yemeğini yer iken, silerdi yaşlarini
Bm         G         Em        F#    
Ancak mi hatirladi, küçük kardaşlarini

Bm       A          G         F#
E Halide Halide da, oturursun tepede 
Bm           A           G            F#
Senun ikbalin yoktur da, sebep oldun yiğide
Bm       A          G         F#
E Halide Halide da, oturursun tepede 
Bm           A           G             F#
Senun ikbalin yoktur da, sebep oldun yiğide

F#                     G       F#
Sevduğum can verurdi, dünyaya son verurdi
Bm         G        Em          F#
İki tane hemşire, ağzina su verurdi
F#                  G        F#
Ben o hemşireleri, arayıp bulacağum
Bm         G          Em       F#
Yarum neler söyledi, onlara soracağum

End of song Play again?

Volkan Konak - Halide Tabs

NotesX

Harmony analysis

Volkan Konak – Halide: key and chord analysis

The song opens on Bm and ends on F#. Its chords belong to both D major and Bm, so every chord below is read both ways.

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)

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 10 times while D never appears 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii	Em	Supertonic — prepares the dominant	E · G · B	6×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	18×
IV	G	Subdominant — moves away from home	G · B · D	13×
V	A	Dominant — strongest pull home	A · C# · E	4×
vi	Bm	Relative minor — the melancholy side	B · D · F#	10×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
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	—
iv	Em	Subdominant — moves away from home	E · G · B	6×
v	F#m	Minor dominant — soft pull	F# · A · C#	—
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	18×
VI	G	Submediant — warm colour	G · B · D	13×
VII	A	Subtonic — steps back to the tonic	A · C# · E	4×

Analysis

The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 51 times in total; 4 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# is V/vi, a secondary dominant heading for Bm.

Chord movement

F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×9
Em F# Dii → V/vi Bmiv → Viv → V ×6

The move to watch is F# → Bm, heard 9 times. From the Bm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V/vi → 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 F#, land on F#, A#, C# — 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.
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 first chord is Bm; the ear learns where home is within a second. F#, G, Bm, Em carry the song: V/vi–IV–vi–ii relative to D, V–VI–i–iv 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 F# → Bm (V/vi → vi in D, V → i in Bm): harmonic-minor cadence — the major V resolves dramatically. It closes on F#, 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.