Emre Fel - Bi Telaşım Var - Chord

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

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Capo 0

Bm  F#m  Em  F#m  G  F#m  Em  F#m

Bm             F#m
Baharı görmeden hazana döndü
Em              F#m
Dallarım’ mahsur külle boyandı
Bm             F#m
Zamanı gelmeden seraba gömdün
Em              F#m
Dallarım’ mahsun zorla dayandı

G          F#m       Em            F#m
 Vah yalan oldum deli yanımdan beni canımdan
G        F#m          Em              F#m
 Vurma yoruldum bi’ telaşım var bi’ telaşım var

Bm               F#m
Viran oldu bahçem güllerim’ soldu
Em                F#m
Her gün her akşam yaralı doğdum
Bm              F#m
Yüreğimde hüznüm bu ne her gün isyan
Em              F#m
Bir yanım hasret bir yanım hüsran

Bm  F#m  Em  F#m  G  F#m  Em  F#m

Bm               F#m
Karanlık gündüzüm karadır bahtım
Em            F#m
Yaşarken öldüm n'eyleyim tahtı
Bm             F#m
Aynada gördüğüm tanınmaz hoyratı
Em            F#m
Yaşarken ördüm nevi’ insafsızı

G          F#m       Em            F#m
 Vah yalan oldum deli yanımdan beni canımdan
G        F#m          Em              F#m
 Vurma yoruldum bi’ telaşım var bi’ telaşım var

Bm               F#m
Viran oldu bahçem güllerim’ soldu
Em                F#m
Her gün her akşam yaralı doğdum
Bm              F#m
Yüreğimde hüznüm bu ne her gün isyan
Em              F#m
Bir yanım hasret bir yanım hüsran

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Emre Fel - Bi Telaşım Var Tabs

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Harmony analysis

Emre Fel – Bi Telaşım Var: key and chord analysis

The song opens on Bm and ends on F#m. 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 10 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	16×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	32×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	6×
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	10×
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#	10×
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	16×
v	F#m	Minor dominant — soft pull	F# · A · C#	32×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	6×
VII	A	Subtonic — steps back to the tonic	A · C# · E	—

Analysis

The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 64 times in total; 4 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 ×9

The move to watch is F#m → Bm, heard 9 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 Em, land on E, G, B — 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.

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. F#m, Em, Bm, G carry the song: iii–ii–vi–IV relative to D, v–iv–i–VI relative to Bm. 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 F#m, 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.