Simge - Kısaca - Chord

Key D major – B minor Chords F#m, Bm, Bm7, Gmaj7, F#m7, A Easy key C (capo 2)

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Capo 0

Bm  F#m   

Bm
Bu bir son mu kısa bir ara mı
F#m
Kuşkun bile cevaptı aslında
Bm
Dost kalamıyorum, niyet buysa
F#m
İyi son yok ki, aşk mevcutsa

  Bm                       F#m
Sarıl bana, sarıl şu an, sarıl bana
       F#m
Kalıp biraz sonra yine
  Bm 
Kırıl bana, açık kapı bırakmadan
  F#m
Ayrıl hemen, gitmem ki ben
           Bm
Alıştıra, alıştıra

Bm7 
Gel adını koyalım burada ilk önce
F#m 
Hangi dilde bu nece
    Gmaj7
Konular daha da uzuyor
         F#m7              A
Uzadıkça bitti mesela, kısaca

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Simge - Kısaca Tabs

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Harmony analysis

Simge – Kısaca: 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.

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)

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 7 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.

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	—
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	7×
iii7	F#m7	Mediant — a tonic-family shade	F# · A · C# · E	1×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	1×
V	A	Dominant — strongest pull home	A · C# · E	1×
vi	Bm	Relative minor — the melancholy side	B · D · F#	6×
vi7	Bm7	Relative minor — the melancholy side	B · D · F# · A	1×
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#	6×
i7	Bm7	Tonic — home	B · D · F# · A	1×
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	—
v	F#m	Minor dominant — soft pull	F# · A · C#	7×
v7	F#m7	Minor dominant — soft pull	F# · A · C# · E	1×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VImaj7	Gmaj7	Submediant — warm colour	G · B · D · F#	1×
VII	A	Subtonic — steps back to the tonic	A · C# · E	1×

Analysis

The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 17 times in total; 6 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 ×5

The move to watch is F#m → Bm, heard 5 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 F#m, land on F#, A, C# — 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 Bm7, land on B, D, F# — 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
3 semitones up

The song's harmonic story

Starting on Bm, the song gives away its key from the very first bar. The backbone is F#m, Bm, Bm7, Gmaj7 — iii–vi–vi7–IVmaj7 from the D side, v–i–i7–VImaj7 from the Bm side. 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.