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)
Tuna Kiremitçi - Sevmek mi Sevilmek mi (Ceren Gündoğdu) - Chord
Key D major – B minor Chords Bm, Em, A, F#7 Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm Em A Bm
Bm A
Yolunda gitmeyen şeylerim var istersen
Em Bm
Bildiğin sonlara benzeyen
A
Suçluluklar, kalp ağrısı, vesaire
Em F#7 Bm
Halimi yok ki hiç anlayan
Bm A
Kınında bekleyen bir kılıç gibi günler
Em Bm
Geceler uzun ve yokluğun ağır
A
Aşk eskidendi, yok artık öyle şeyler
Em F#7 Bm
Sadece bir soru susmayan
Bm Em
Sevmek mi sevilmek mi
A Bm
Ölmek mi daha kolay
Em
İki yalnız arasında
A Bm
Olanlar şimdi neye yarar
Bm A
Canımla yazdığım sözlerim var istersen
Em Bm
Kafiye bulmamı bekleyen sana
A
Sev beni küçük ellerinle
Em F#7 Bm
Bir soruyla ömrünü harcama
Bm Em
Sevmek mi sevilmek mi
A Bm
Ölmek mi daha kolay
Em
İki yalnız arasında
A Bm
Olanlar şimdi neye yarar
End of song Play again?
Tuna Kiremitçi - Sevmek mi Sevilmek mi (Ceren Gündoğdu) Tabs
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Harmony analysis
Tuna Kiremitçi – Sevmek mi Sevilmek mi (Ceren Gündoğdu): 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 17 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 | 11× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 3× |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | 11× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 17× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 17× |
| 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 | 11× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 3× |
| VI | G | Submediant — warm colour | G · B · D | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 11× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 42 times in total; 3 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#7 is V7/vi, a secondary dominant heading for Bm.
Chord movement
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×5
- Em A Dii → Vii → V Bmiv → VII ×5
- F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×3
- Em Bm Dii → vi Bmiv → iminor plagal ×3
- Em F#7 Dii → V7/vi Bmiv → V7iv → V ×3
The move to watch is A → Bm, heard 5 times. From the Bm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the D side it reads V → vi (deceptive cadence: expected D, lands on Bm). 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 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.
- When F#7 comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
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 first chord is Bm; the ear learns where home is within a second. Bm, Em, A, F#7 carry the song: vi–ii–V–V7/vi relative to D, i–iv–VII–V7 relative to Bm. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A → Bm (V → vi in D, VII → i in Bm): Aeolian arrival — rises a whole tone into home. The final chord is Bm; the ear comes to rest in Bm.
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.
Tuna Kiremitçi - Sevmek mi Sevilmek mi (Ceren Gündoğdu) 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: Tuna KiremitçiMusic: Tuna KiremitçiArrangement: Hüseyin Çebişci
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