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)
Berkay Altunyay - Ayrılmam - Chord
Key D major – B minor Chords F#m, Bm, G, A Easy key C (capo 2)
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Key: D | Bm
Capo: 0
F#m
Gururla harcadım elimde kalanı
Bm
Çiçekler aldım sarmadı yaramı
F#m
Acı bile kendine getiriyor adamı
Bm
Bir dikili ağacım yok
F#m
İyileri yakacak, kötülere bakacak
Bm
Daha iyi çıktı mı, beni bile satacak
F#m
Yolun ötesinden yüreğime akacak
Bm
Aşka inancım yok
Bm
Acıları tatmam gerek
Açığı kapatmam gerek
Kopunca senden, en hoş yerinden
İki göbek atmam gerek
Bm
Ne tende duygu, ne de biraz uyku
F#m
Yürek de lazım çok
A G A
Nazara inandım, büyüye inancım yok
F#m Bm
Ayrılmam, hadi kov beni yüreğinden
F#m
Hiçbir yere terk etmem
G
Seni zar zor buldum ben
F#m
Aşktan vazgeçmek yok
Bm
Ölsem de terk etmem
F#m
Seni zar zor buldum ben
G
Gideceğim çok yer yok
F#m
Aşktan vazgeçmek yok
F#m Bm F#m G F#m
End of song Play again?
Berkay Altunyay - Ayrılmam Tabs
NotesX
Harmony analysis
Berkay Altunyay – Ayrılmam: key and chord analysis
The song opens on F#m and ends on F#m. 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 13× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 4× |
| V | A | Dominant — strongest pull home | A · C# · E | 2× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 9× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| 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 | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 13× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 4× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 2× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 28 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 ×7
- G A DIV → VIV → V BmVI → VIIVI → VII ×1
The move to watch is F#m → Bm, heard 7 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 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.
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
- 3 semitones up
The song's harmonic story
The opening F#m lays a solid floor for everything that follows. The backbone is F#m, Bm, G, A — iii–vi–IV–V from the D side, v–i–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 F#m → Bm (iii → vi in D, v → i in Bm): natural-minor cadence — gentle, modal arrival. The final chord is F#m; 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.
Berkay Altunyay - Ayrılmam 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: Serdar Ortaç, Volga TamözMusic: Serdar Ortaç, Volga Tamöz
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