Velet - Marmara - Chord

Key D major – B minor Chords Bm, G, Em Easy key G (capo 7)

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Capo 0

Bm  Bm  G  Em

Bm
Zaman seni bana getirir sandım
G                 Em
Bekledim bekledim beklemekten usandım
Bm
Sana zarar gelmesin diye kendimi kanattım
G                 Em
kapattım kapattım kapattıkça yol aldım

Bm
Kimse sana benden başka bir dert vermesin
G                   Em
Duam tutar bilirsin kimse ben gibi sevmesin

Bm
Ben Marmara'nın sularında İstanbul'un boğazında
G                  Em
Yutkunmayı unutmuş bir aşkın kursağında
Bm
Her hikaye biter kalem yazarım tutsağımda
G                  Em
İnanmadığın o sevgi var ya artık kutsalımda

Bm  Bm  G  Em
(Aynı döngü devam eder)

Ben Marmara'nın sularında İstanbul'un boğazında
Yutkunmayı unutmuş bir aşkın kursağında
Her hikaye biter kalem yazarım tutsağımda
İnanmadığın o sevgi var ya artık kutsalımda

Odamdayım köşemdeyim atarım zehri yakarım geçmişi
Bilirim neyse ki bakarken ona bakamaz ben gibi
Ararım aklıma denk değişir odamın renkleri
Çöpe at yazdıklarımı sıfırdan açıyor mu defteri

Görürsün gününü geçince günler insan buna nasıl kader der
Öldüğün günden gülüm günüm nasıl geçer
Gamzelerin, kalem kaşın, bana ait olan bakışların
Boşmuş savaşların

Ben Marmara'nın sularında İstanbul'un boğazında
Yutkunmayı unutmuş bir aşkın kursağında
Her hikaye biter kalem yazarım tutsağımda
İnanmadığın o sevgi var ya artık kutsalımda

Ben Marmara'nın sularında İstanbul'un boğazında
Yutkunmayı unutmuş bir aşkın kursağında
Her hikaye biter kalem yazarım tutsağımda
İnanmadığın o sevgi var ya artık kutsalımda

End of song Play again?

Velet - Marmara Tabs

NotesX

Harmony analysis

Velet – Marmara: key and chord analysis

The song opens on Bm and ends on Em. 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 9 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	7×
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	7×
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	9×
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#	9×
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#	—
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	7×
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). 3 different chords appear 23 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

Em Bm Dii → vi Bmiv → iminor plagal ×6

The move to watch is Em → Bm, heard 6 times. From the Bm side it is iv → i (minor plagal: deep and melancholic); from the D side it reads ii → 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 G, land on G, B, D — 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.

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

Starting on Bm, the song gives away its key from the very first bar. Bm, G, Em carry the song: vi–IV–ii relative to D, i–VI–iv relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Bm (ii → vi in D, iv → i in Bm): minor plagal — deep and melancholic. It closes on Em, letting the D side have the last word.

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.