Ari Barokas - Felekten Saadet Çalınmaz - Chord

Key D major – B minor Chords Bm, Em, F#, D, A, Am, E, G … Easy key C (capo 2)

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Capo 0

Em  Bm  D  F#  Bm

Bm       F#                Bm
Felekten saadet çalınmaz cicim
Em              F#         Bm
Gönüller alınır satılmaz cicim

Em      Bm       A       D
Kokunuz renginiz ipek cildiniz
Bm      Em      F#         Bm
Sevilir okşanır kanılmaz cicim

D               A
Pembe gülüşünüz hayat bağışlar
Am     G         Em          Bm
Baygın bakışınız sevdalar aşlar
Em               D
Hasretiniz biter hicranlar başlar
Bm    Em       F#        Bm
Vefânıza güven olunmaz cicim

Bm      F#                   Bm
Gençlik geçecektir şüphe etmeyin
Em         Bm   D   Em    Bm   D
Bahtsızlık bendedir uzağa gitmeyin
Em   Bm   F#    Em   Bm   F#
Beni öldürün de azap etmeyin
Em        Bm        F#        Bm
Meşhurdur eski dost atılmaz cicim

Bm     F#                Bm
Gelene geçene gönül verilmez
Em    A       Dm         Bm
İhanetle ölen sevda dirilmez
F#       Bm      D         Em
Karanlık cepheli aşka girilmez
Bm    Em        F#        Bm  F#  Bm
Sel suyuna olta atılmaz cicim

B                  E
Gönül bir kal'adır herkes giremez
                   F#
Tali bir arslandır kimse yenemez
E
Ecel celladına merttir denemez
Bm     Em       F#         Bm
Membalara zehir katılmaz cicim

Em
Sevginin nefretin pazarı yoktur
F#                Bm
Aşkın zevki değil hicranı çoktur
A                Am
Sevda çekenlerin gözü pek toktur
Em              F#         Bm
Gönüller alınır satılmaz cicim

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Ari Barokas - Felekten Saadet Çalınmaz Tabs

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Harmony analysis

Ari Barokas – Felekten Saadet Çalınmaz: key and chord analysis

The song opens on Em and ends on Bm. 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)
#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 comes to rest on Bm, Bm is heard 30 times against 7 for D 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	7×
i	Dm	Chromatic colour chordoutside the key	D · F · A	1×
ii	Em	Supertonic — prepares the dominant	E · G · B	18×
V/V	E	Secondary dominant V/V — leads to Asecondary dominant	E · G# · B	2×
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#	17×
IV	G	Subdominant — moves away from home	G · B · D	1×
V	A	Dominant — strongest pull home	A · C# · E	4×
v	Am	Chromatic colour chordoutside the key	A · C · E	2×
vi	Bm	Relative minor — the melancholy side	B · D · F#	30×
V/ii	B	Secondary dominant V/ii — leads to Emsecondary dominant	B · D# · F#	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#	30×
V/iv	B	Secondary dominant V/iv — leads to Emsecondary dominant	B · D# · F#	1×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	7×
iii	Dm	Chromatic colour chordoutside the key	D · F · A	1×
iv	Em	Subdominant — moves away from home	E · G · B	18×
IV	E	Major IV — Dorian / melodic-minor colourmodal colour	E · G# · B	2×
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#	17×
VI	G	Submediant — warm colour	G · B · D	1×
VII	A	Subtonic — steps back to the tonic	A · C# · E	4×
vii	Am	Chromatic colour chordoutside the key	A · C · E	2×

Analysis

The key pair is D major and its relative B minor (2 sharps). 10 different chords appear 83 times in total; 5 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. E, B act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×14
Em Bm Dii → vi Bmiv → iminor plagal ×9
Em F# Dii → V/vi Bmiv → Viv → V ×7
A D DV → Iauthentic cadence BmVII → III ×1
Em A Dii → Vii → V Bmiv → VII ×1

The move to watch is F# → Bm, heard 14 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 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 F#, land on F#, A#, C# — 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

Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Bm, Em, F#, D; read them as vi–ii–V/vi–I in D or i–iv–V–III in Bm. 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. Ending on Bm, the song seals Bm 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.