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)
Bininci Tekil - İplerini Bırakma - Chord
Key D major – B minor Chords Em, A, D, Bm, F#, C#m7, C Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Em D Bm A Em D A A
Em D Bm A Em Em A F# Bm
Bm
Düşüyordum, düşüyordum
Ve sanırsın uçuyordum
Düşmekte uçmaktır dedi köpek
Dibi görüp çakılana dek
Yaptığım hatalara
En çok kendim şaşardım
Aklımı kaybetme ihtimalimi
Hiç düşünmeden yaşardım
Em D C#m7 C
Şimdi bakınca kayıp giden güzel anılarım
Em D C#m7 C Bm F#
Ama ben her zaman biraz geç anlarım
Em D Bm A
İplerini bırakma
Em D A
Benim aklım kolay kaçar
Em D Bm A Em
İçimde öldüğüm, rüyamda gördüğümsün
A
Kolay kolay unutmam
Em D Bm A
Sen bana pek aldırma
Em D A
Gözlerim çabuk dolar
Em D Bm A Em
Hayali kurduğum, sonunda bulduğum seni
A
Yorulmadan uyutmam
Em D Bm A Em D A A
Ellerimi bırakma
Em D Bm A Em Em A A
Em D Bm A Em D A A
Em D Bm A Em Em A F# Bm
End of song Play again?
Bininci Tekil - İplerini Bırakma Tabs
NotesX
Harmony analysis
Bininci Tekil – İplerini Bırakma: key and chord analysis
The song opens on Em and ends on Bm. 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 comes to rest on Bm, D is heard 17 times against 14 for Bm 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 | 17× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 25× |
| 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# | 3× |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | 24× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 14× |
| bVII | C | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | C · E · G | 2× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| vii7 | C#m7 | Chromatic colour chordoutside the key | C# · E · G# · B | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 14× |
| bII | C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C · E · G | 2× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| ii7 | C#m7 | Chromatic colour chordoutside the key | C# · E · G# · B | 2× |
| III | D | Relative major — the bright side | D · F# · A | 17× |
| iv | Em | Subdominant — moves away from home | E · G · B | 25× |
| 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# | 3× |
| VI | G | Submediant — warm colour | G · B · D | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 24× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 87 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. C is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Em A Dii → Vii → V Bmiv → VII ×5
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×2
The move to watch is Em → A, heard 5 times. From the Bm side it is iv → VII; from the D side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Em, 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.
- Over D, land on D, F#, A — 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.
- On C, follow the chord's notes (C · E · G) 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 down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. Em, A, D, Bm carry the song: ii–V–I–vi relative to D, iv–VII–III–i 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 Em → A (ii → V in D, iv → VII in Bm): ii → V — the classic preparation of the dominant. Ending on Bm, the song seals Bm as home.
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.
Bininci Tekil - İplerini Bırakma 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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