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)
Dhurata Dora - Zemer (Soolking) - Chord
Key D major – B minor Chords Bm, F#m, Em, G, A Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm Bm Em F#m
Bm Bm F#m G A
Bm
Ti je fajtor që zemrën ma ke thy
Em F#m
Zemrën ma ke thy, oh zemrën ma ke thy
Bm
Tu n'y crois pas, mais j'sais qu't'es ma future
F#m G A
Ouais, t'es ma future, j'sais qu't'es ma future
Bm
Zemër, oh zemër
Em F#m
Pse ti tash po qan për dikon që të ka lon
Bm
Zehma, j'fais pas zehma
F#m G A
Serais-je capable d'oublier si tu n'es plus là
Bm Bm Em F#m
Bm Bm F#m G A
Bm
Là, ça n'avance pas
Em F#m
Avec un air innocent, tu m'dis ça
Bm
"Ah, c'est comme ça", j'vais pas t'forcer
F#m G A
Pour toi, j'ai quitté mon passé, mes lauds-sa et tu le sais
Bm
Baby, thought you loved me crazy
Em F#m
Thought you loved me crazy, po ti m'dole shumë fake
Bm
Baby, pourquoi c'est jamais assez
F#m G
Des efforts, j'en ai fait, mais j'en f'rai pas à vie
Bm
A t'kujtohet m'the: "Beso! Beso!"
Em F#m
Une t'besova ty, m'the: "Beso! Beso!" Qysh me t'besu ty
Bm
Ouais, c'est que des mots, mais c'est véridique
F#m G A
J'te parle du coeur et le coeur ne sait pas mentir
Bm Em
Si j'm'en vais, t'auras plus d'prises de têtes
F#m Bm
Mais p't-être qu'on s'reverra, rababa, yah, bah
F#m
Tu m'diras que personne n'est parfait
On s'est juste loupés, yah, yah, yah
Bm
Ti je fajtor që zemrën ma ke thy
Em F#m
Zemrën ma ke thy, oh zemrën ma ke thy
Bm
Tu n'y crois pas, mais j'sais qu't'es ma future
F#m G A
Ouais, t'es ma future, j'sais qu't'es ma future
Bm
Zemër, oh zemër
Em F#m
Pse ti tash po qan për dikon që të ka lon
Bm
Zehma, j'fais pas zehma
F#m G A
Serais-je capable d'oublier si tu n'es plus là
Bm Bm Em F#m
Bm Bm F#m G A
Bm
Harrove ti, harrove ti
Em F#m
Harrove ti se ça kena pas na t'dy
Bm
Harrove ti, harrove ti
F#m G
Harrove ti që unë mirë jam
Bm
Ah ouais, T'es décidée ? C'est décidé
Em F#m
J'vais plus céder à tous ces mensonges maquillés
Bm Bm
Ah ouais, La vérité, La vérité
F#m G A
C'est pas une vie de te regarder me quitter
Bm
Ça ki ti ma shumë se unë
Ça ki ma shumë se unë
Em F#m
Unë kam dashni e ti rrena shumë
Bm
Ça ki ti ma shumë se unë
Ça ki ma shumë se unë
F#m
Ki mu ni vetë se ti pa mu more fund
Bm
Ti je fajtor që zemrën ma ke thy
Em F#m
Zemrën ma ke thy, oh zemrën ma ke thy
Bm
Tu n'y crois pas, mais j'sais qu't'es ma future
F#m G A
Ouais, t'es ma future, j'sais qu't'es ma future
Bm
Zemër, oh zemër
Em F#m
Pse ti tash po qan për dikon që të ka lon
Bm
Zehma, j'fais pas zehma
F#m G A
Serais-je capable d'oublier si tu n'es plus là
Bm
Hey le le le le le
Em F#m
Se tash po vjen era dashni e re
Bm
Unë ta bona, le le le le le
F#m G A
Est-c'que c'est fini ou est-ce qu'on repart en balade, toi et moi
Bm Bm Em F#m
Bm Bm F#m G A
End of song Play again?
Dhurata Dora - Zemer (Soolking) Tabs
NotesX
Harmony analysis
Dhurata Dora – Zemer (Soolking): key and chord analysis
The song opens on Bm 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 it opens on Bm and Bm is heard 45 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 | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 18× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 36× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 16× |
| V | A | Dominant — strongest pull home | A · C# · E | 14× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 45× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 45× |
| 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 | 18× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 36× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 16× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 14× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 129 times in total; 5 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
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×20
- G A DIV → VIV → V BmVI → VIIVI → VII ×14
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×13
- G Bm DIV → vi BmVI → iVI → i ×2
The move to watch is F#m → Bm, heard 20 times. From the Bm side it is v → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii → 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — 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
- 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. Bm, F#m, Em, G carry the song: vi–iii–ii–IV relative to D, i–v–iv–VI relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m → Bm (iii → vi in D, v → i in Bm): natural-minor cadence — gentle, modal arrival. Ending on A, 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.
Dhurata Dora - Zemer (Soolking) 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: Dhurata Dora
Abderraouf DerradjiMusic: Bigbang
Abderraouf DerradjiMusic: Bigbang
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