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)
Emir Can İğrek - Beyoğlu - Chord
Key D major – B minor Chords A, Bm, Em, F#, G Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm
Büyümüşüm işte
A
Buna zor inandım
Em
Kapına değil de
F#
30'a dayandım
Bm
Birine inanmak
A
Moda değil artık
Em
Uyamadık ancak
F#
Onu da kaçırdık
A G
Şakaya vuruyorum artık yüzüne vurmaktansa
A G
Kabul edeceksin geçiyor işte zaman
A G
Şakaya vuruyorum artık yüzüne vurmaktansa
A G
Kabul edeceksin geçiyor işte zaman
F#
Sana sormadan
Bm
Beyoğlu eski Beyoğlu
A
Olsa bile ben
Em F#
Eski bana dönemem
Bm
Hiçbi’ şey içmedim amma
A
Aklıma geldin
Em F#
Ondan o sendelemem
Bm A Em Bm
A
İnsan iki yabancıdan da
G
Daha yabancı olabilirmiş
Em A
Olabilirmiş hem aynı yatakta
G F#
Hem ayrı kıtalarda
End of song Play again?
Emir Can İğrek - Beyoğlu Tabs
NotesX
Harmony analysis
Emir Can İğrek – Beyoğlu: key and chord analysis
The song opens on Bm and ends on F#. 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 opens on Bm, Bm is heard 6 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 | 6× |
| 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# | 6× |
| IV | G | Subdominant — moves away from home | G · B · D | 6× |
| V | A | Dominant — strongest pull home | A · C# · E | 11× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 6× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 6× |
| 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 | 6× |
| 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# | 6× |
| VI | G | Submediant — warm colour | G · B · D | 6× |
| 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). 5 different chords appear 35 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.
Chord movement
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×4
- Em F# Dii → V/vi Bmiv → Viv → V ×4
- G A DIV → VIV → V BmVI → VIIVI → VII ×3
- Em Bm Dii → vi Bmiv → iminor plagal ×1
- Em A Dii → Vii → V Bmiv → VII ×1
The move to watch is F# → Bm, heard 4 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 A, land on A, C#, E — 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 Em, land on E, G, B — 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.
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 A, Bm, Em, F# — V–vi–ii–V/vi from the D side, VII–i–iv–V 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. The final chord is F#; the ear comes to rest in D.
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.
Emir Can İğrek - Beyoğlu 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: Emir Can İğrekMusic: Emir Can İğrekArrangement: Yiğit Avcı
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