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)
Yüzyüzeyken Konuşuruz - Köşebaşı - Chord
Key D major – B minor Chords Bm, Em, G, A, F#m Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm G Bm G
Bm
Dikeninin yarasındayım
G
Gecenin en karasındayım
Em A Bm
Güller ektim sensizliğe koparamam acısındayım
Bm
Ne şöhrette ne parasındayım
G
Sigaramın yarısındayım
Em
İsterse herkes dinlesin
A Bm
Ben ikimizin arasındayım
Em
Sana bir köşebaşında bir işin dışında
Bm
Rastlasam yüzüne bakmasam
A
Hiçbir şey anlamaz
F#m Bm
Konuşur durursun hiç düşünmeden
Bm
Gözünün en karasında mı
G
Sesinin her notasında mı
Em A Bm
Aradığım en güzel şey bir suyun akışında mı
Em
Issızlığın ortasında
G
İhtimaller tarlasında
Em
İzimi sürmek zor değil
A Bm
Geçmişimin ordusuyla
Em
Sana bir köşebaşında bir işin dışında
Bm
Rastlasam yüzüne bakmasam
A
Hiçbir şey anlamaz
F#m Bm
Konuşur durursun hiç düşünmeden
End of song Play again?
Yüzyüzeyken Konuşuruz - Köşebaşı Tabs
NotesX
Harmony analysis
Yüzyüzeyken Konuşuruz – Köşebaşı: 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 13 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 | 7× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 2× |
| 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 | 6× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 13× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 13× |
| 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 | 7× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 2× |
| 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 | 6× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 34 times in total; 5 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 ×4
- Em A Dii → Vii → V Bmiv → VII ×4
- Em Bm Dii → vi Bmiv → iminor plagal ×2
- G Bm DIV → vi BmVI → iVI → i ×2
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×2
The move to watch is A → Bm, heard 4 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 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. The backbone is Bm, Em, G, A — vi–ii–IV–V from the D side, i–iv–VI–VII from the Bm side. 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. 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.
Yüzyüzeyken Konuşuruz - Köşebaşı 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: Kaan BoşnakMusic: Kaan BoşnakArrangement: Yüzyüzeyken Konuşuruz
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