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)
Duman - Bal - Chord
Key D major – B minor Chords G, Bm, F#, Em, A, G#, A#, C# Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm Em G G Bm Em G F# Aaaşkım sen benim canımsın Bm Em G F# Kanına karışmış kanım Bm Em G F# Söööyle kimlerden kaçarsın Bm Em G F# Boşuna durmadan ağlarsın Bm Em G G Bm Em G F# Yaavrum sen benim balımsın Bm Em G F# Tadına alışmış canım Bm Em G F# Aaaaaaaaah guzel kuşum gir Bm Em G F# Kanıma, ben zaten sarhoşum G F# Nerdesin G F# Sevgilim G F# A G# G A# Bm C# Bm Söyle nerdesin bal G F# A G# G A# Bm C# Bm Aartık benlesin bal Bm Em G G Bm Em G F# Bm Em G F# Aaartık sen beeenim caaanıımsın Bm Em G F# Bm Em G F# Caanlı kaalan tek yaaarımsın Bm Em G F# Aaartık sen benim canımsın Bm Em G F# Caanlı kalan tek yanımsın G F# Nerdesin G F# A G# G A# Bm C# Bm Söyle nerdesin bal G F# A G# G A# Bm C# Bm Aartık benlesin bal
End of song Play again?
Duman - Bal Tabs
intro
E---2-0-2---2-0-2------------0----|
B---3-------0-------3-2-3-2-3-2-0-|
G---4-------0-------0-------------|
D---4-------2-------0-------------|
A-2-2-------2-------x-------------|
E---------0-0-----3-3-------------|
ince solo
E-10-9-10-10-9-10-10-9-10-9-10-12-9-7-7-|
B---------------------------------------|
G---------------------------------------|
D---------------------------------------|
A---------------------------------------|
E---------------------------------------|
E-10-9-10-10-9-10-7-6-7-6-7-6-----------|
B-----------------------------7b8b7-----|
G---------------------------------------|
D---------------------------------------|
A---------------------------------------|
E---------------------------------------|
NotesX
Harmony analysis
Duman – Bal: key and chord analysis
The song opens on Bm 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 both starts and finishes on Bm, Bm is heard 25 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 17× |
| 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# | 21× |
| IV | G | Subdominant — moves away from home | G · B · D | 31× |
| #IV | G# | Chromatic colour chordoutside the key | G# · B# · D# | 4× |
| V | A | Dominant — strongest pull home | A · C# · E | 4× |
| bVI | A# | Borrowed from the parallel minorborrowed chord | A# · D · E# | 4× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 25× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| V/iii | C# | Secondary dominant V/iii — leads to F#msecondary dominant | C# · E# · G# | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 25× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| V/v | C# | Secondary dominant V/v — leads to F#msecondary dominant | C# · E# · G# | 4× |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | 17× |
| 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# | 21× |
| VI | G | Submediant — warm colour | G · B · D | 31× |
| #VI | G# | Chromatic colour chordoutside the key | G# · B# · D# | 4× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 4× |
| #VII | A# | Chromatic colour chordoutside the key | A# · D · E# | 4× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 8 different chords appear 110 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# acts as a secondary dominant, briefly pointing at another chord of the key. A# is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×12
- G Bm DIV → vi BmVI → iVI → i ×3
The move to watch is F# → Bm, heard 12 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 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 F#, land on F#, A#, C# — 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 A#, follow the chord's notes (A# · D · E#) 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
The opening Bm lays a solid floor for everything that follows. The backbone is G, Bm, F#, Em — IV–vi–V/vi–ii from the D side, VI–i–V–iv from the Bm side. 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 Bm, letting the Bm 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.
Duman - Bal 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 TangözeMusic: Kaan Tangöze
Batuhan Mutlugil
Batuhan Mutlugil
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