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)
Birileri - Hayalde Canlanan Kusursuzluk - Chord
Key D major – B minor Chords A, G, C, Em, Bm, Dm Difficulty already in its easiest key
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Key: D | Bm
Capo: 0
A
Sarıl bana
G
Sarıl hadi hiç bırakmak istemezcesine
A
Hayalimde canlanan kusursuzluk
G
Bu dünyaya fazla olduğundan belki
A
Hiç var olmamak kaçınılmaz sonundu
Hiç istemezsin lakin
G
Bu merdivenler bizi ayırır
A
Yavaş adımlarla inersin bi meçhule
Derken bi an durup
C
Başını kaldırırsın bana doğru
A
Son bir bakış, son bir gülümseme için
A A G G A A G G
A
Nasıl olur
G
Böylesi gerçekten doldurur
Taşırır içimi
A
Esirgemem hiçbi cümlemi
C
O beni büyüler ve kaybolur
Dm Em A
Bir adın yok, bir ada ihtiyacın yok
C
Sen o birkaç saniyelik görünümünde
Bm A
Beni alıp benden başka yerlere götürdün
Bm Em
Beni alıp benden başka yerlere götürdün
Em
Gecenin karartıları içinde bir yerde
Mumu'nun yüzüne karlar düşer
O, boylu boyunca parlar
Ve tüm odayı aydınlatırdı
A A G G A A G G
End of song Play again?
Birileri - Hayalde Canlanan Kusursuzluk Tabs
NotesX
Harmony analysis
Birileri – Hayalde Canlanan Kusursuzluk: key and chord analysis
The song opens on A and ends on G. 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 2 times while D never appears. 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 | — |
| i | Dm | Chromatic colour chordoutside the key | D · F · A | 1× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 3× |
| 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# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 12× |
| V | A | Dominant — strongest pull home | A · C# · E | 17× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 2× |
| bVII | C | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | C · E · G | 3× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 2× |
| bII | C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C · E · G | 3× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iii | Dm | Chromatic colour chordoutside the key | D · F · A | 1× |
| iv | Em | Subdominant — moves away from home | E · G · B | 3× |
| 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# | — |
| VI | G | Submediant — warm colour | G · B · D | 12× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 17× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 38 times in total; 4 of them sit naturally inside the shared scale. C is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- G A DIV → VIV → V BmVI → VIIVI → VII ×7
- Em A Dii → Vii → V Bmiv → VII ×2
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1
The move to watch is G → A, heard 7 times. From the Bm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the D side it reads IV → V (IV → V: the lift that builds tension before 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on A, the song gives away its key from the very first bar. The chords that keep coming back are A, G, C, Em; read them as V–IV–bVII–ii in D or VII–VI–bII–iv in Bm. C briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on G → A (IV → V in D, VI → VII in Bm): VI → VII — the rising step that heads for the tonic. Ending on G, the song seals D 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.
Birileri - Hayalde Canlanan Kusursuzluk 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: Jan SoykökMusic: Birileri
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