Sibel Can - Bahçenden Bir Çiçek Yolla - Chord

Key D major – B minor Chords Bm, Em, F7, A, Gmaj7, D, Em7, C#dim Easy key G (capo 7)

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Capo 0

Bm           Em      F7          Bm
Ben kimsenin mazisi, kalp ağrısı değilim

Bm  A  Gmaj7  A

A                     Bm
Hiç bitmeyen sevda yapsınlar
                Gmaj7
Seni beni içine atsınlar
           Em7
Adımız bir, sanımız bir
C#dim          F7    Gmaj7
Güleriz bir, ağlarız bir

A
Gel kaderim gel
Em
Gel en güzel günahım
Gmaj7             F7
Sana sakladım hep senelerimi

Bm           Em      F7          Bm
Ben kimsenin mazisi, kalp ağrısı değilim
             Em        A        D
Ben kimsenin son aşkı, son sözü değilim
Bm              Em
İstemem dünyayı yakma uğruma
                    Bm
Bahçenden bir çiçek yolla
F7           Bm
Düşerim yollarına

A
Gel kaderim gel
Em
Gel en güzel günahım
Gmaj7             F7
Sana sakladım hep senelerimi

Bm           Em      F7          Bm
Ben kimsenin mazisi, kalp ağrısı değilim
             Em        A        D
Ben kimsenin son aşkı, son sözü değilim
Bm              Em
İstemem dünyayı yakma uğruma
                    Bm
Bahçenden bir çiçek yolla
F7           Bm
Düşerim yollarına

Bm           Em      F7          Bm
Ben kimsenin mazisi, kalp ağrısı değilim

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Sibel Can - Bahçenden Bir Çiçek Yolla Tabs

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Harmony analysis

Sibel Can – Bahçenden Bir Çiçek Yolla: 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.

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 both starts and finishes on Bm and Bm is heard 16 times against 2 for D. 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	2×
ii	Em	Supertonic — prepares the dominant	E · G · B	10×
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	1×
bIII7	F7	Borrowed from the parallel minorborrowed chord	F · A · C · Eb	9×
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#	—
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	5×
V	A	Dominant — strongest pull home	A · C# · E	7×
vi	Bm	Relative minor — the melancholy side	B · D · F#	16×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	1×

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	16×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	1×
III	D	Relative major — the bright side	D · F# · A	2×
iv	Em	Subdominant — moves away from home	E · G · B	10×
iv7	Em7	Subdominant — moves away from home	E · G · B · D	1×
#IV7	F7	Chromatic colour chordoutside the key	F · A · C · Eb	9×
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#	—
VImaj7	Gmaj7	Submediant — warm colour	G · B · D · F#	5×
VII	A	Subtonic — steps back to the tonic	A · C# · E	7×

Analysis

The key pair is D major and its relative B minor (2 sharps). 8 different chords appear 51 times in total; 7 of them sit naturally inside the shared scale. F7 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

A D DV → Iauthentic cadence BmVII → III ×2
Em Bm Dii → vi Bmiv → iminor plagal ×2
Gmaj7 A DIVmaj7 → VIV → V BmVImaj7 → VIIVI → VII ×2
Em A Dii → Vii → V Bmiv → VII ×2
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1

The move to watch is A → D, heard 2 times. From the Bm side it is VII → III; from the D side it reads V → I (authentic cadence: the strongest arrival home). 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 F7, land on F, A, C — the chord's own tones always sound right on strong beats.
On F7, follow the chord's notes (F · A · C · Eb) rather than the key's scale — it's a borrowed colour.

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 chords that keep coming back are Bm, Em, F7, A; read them as vi–ii–bIII7–V in D or i–iv–#IV7–VII in Bm. F7 briefly darkens the picture: borrowed from the parallel minor. Keep an ear on A → D (V → I in D, VII → III in Bm): authentic cadence — the strongest arrival home. The final chord is Bm; the ear comes to rest in Bm.

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.