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)
Böyleyken Böyle - Dumanlar Var Üzerimde - Chord
Key D major – B minor Chords Bm, A, G Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm A Bm A
Bm A
Korkarım seni yine kaybedersem
Bm A
Ya birdenbire benden vazgeçersen
G A Bm
İnanırım yalanlar söylesen bile
G A Bm
Beni iyi sanar insanlar ağlamam diye
Bm A
Saklarım hislerimi bilmesinler
Bm A
Çocuklar gibi benimle alay ederler
G A Bm
Yıkılırım ben Uludağ olsam bile
G A Bm
Dışarıdan çok güçlü görünsem bile
G A
Dumanlar var üzerimde
Bm
Bir tek kendimi üzerim de
G A
Senden nasıl ayrı kalırım
Bm
Bunu yapamam
G A
Dumanlar var üzerimde
Bm
Çok derin suda yüzerim de
G A
Senin denizlerin boğar beni
Bm
Yaşayamam
End of song Play again?
Böyleyken Böyle - Dumanlar Var Üzerimde Tabs
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Harmony analysis
Böyleyken Böyle – Dumanlar Var Üzerimde: 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)
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 and Bm is heard 14 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 | — |
| 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 | 8× |
| V | A | Dominant — strongest pull home | A · C# · E | 14× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 14× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 14× |
| 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# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 8× |
| 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). 3 different chords appear 36 times in total; 3 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
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×12
- G A DIV → VIV → V BmVI → VIIVI → VII ×8
The move to watch is A → Bm, heard 12 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 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.
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
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. Bm, A, G carry the song: vi–V–IV relative to D, i–VII–VI relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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.
Böyleyken Böyle - Dumanlar Var Üzerimde 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: Mustafa KırMusic: Mustafa KırArrangement: Muharrem Salcı, Can Doe, Mustafa Kır
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