Gece - Bana Bir Şarkı Söyle - Chord

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

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Capo 0

Bm                     F#
Tatlı bir uyuşukluk hissi bahsettiğim
          G                         A
Ayak parmaklarından kafatasına kadar uzanan
Bm                      F#                         G
Bazıları berrak bir su gibidir bazıları da benim gibi
             A
Çamurlu bir göl merak ettiğin dibini

Bmsus                    F#
Tutuşturmayı merak ediyorsan tutkuyu
          G                     A
Peki ya korkuyu bunun neresine koymalı
Bm                     F#                G          A
Her kararla ilişkiye girebilecek kadar kahpedir ah bu korku

Bm              A       F#     G
Bana bi şarkı söyle yolumuz uzun
Bm         A         F#        G
Sözlerden kurtul derdimiz bir olsun
Bm             A       F#      G
Bana bi şarkı söyle yolumuz uzun
Bm         A         F#         G
Onlardan kurtul derdimiz bir olsun

Bm                       F#
Dipsiz bir yalnızlık kuyusu bahsettiğim
            G                       A
Umutsuzluğu okşayan bi gölge içini kaplayan
Bm                      F#                        G
Bazıları berrak bir su gibidir bazıları da benim gibi
             A
Çamurlu bir göl merak ettiğin dibini

Bm                     F#
Tatlı bir uyuşukluk hissi bahsettiğim
             G                       A
Ayak parmaklarından kafatasına kadar uzanan

End of song Play again?

Gece - Bana Bir Şarkı Söyle Tabs

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Harmony analysis

Gece – Bana Bir Şarkı Söyle: key and chord analysis

The song opens on Bm and ends on A. 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)
#7 = A# (harmonic-minor leading tone from the V chord)

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, Bm is heard 11 times while D never appears and the major V chord points straight at Bm. 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	—
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#	11×
IV	G	Subdominant — moves away from home	G · B · D	11×
V	A	Dominant — strongest pull home	A · C# · E	11×
vi	Bm	Relative minor — the melancholy side	B · D · F#	10×
vi	Bmsus	Relative minor — the melancholy side	B · D · F#	1×
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×
i	Bmsus	Tonic — home	B · D · F#	1×
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#	—
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	11×
VI	G	Submediant — warm colour	G · B · D	11×
VII	A	Subtonic — steps back to the tonic	A · C# · E	11×

Analysis

The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 44 times in total; 4 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F# is V/vi, a secondary dominant heading for Bm.

Chord movement

G A DIV → VIV → V BmVI → VIIVI → VII ×7
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×5
G Bm DIV → vi BmVI → iVI → i ×4
A Bmsus DV → videceptive cadence BmVII → iAeolian arrival ×1

The move to watch is G → A, heard 7 times. From the Bm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the D side it reads IV → V (IV → V: the lift that builds tension before 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 F#, land on F#, A#, C# — 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
When F# comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.

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 first chord is Bm; the ear learns where home is within a second. F#, G, A, Bm carry the song: V/vi–IV–V–vi relative to D, V–VI–VII–i relative to Bm. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G → A (IV → V in D, VI → VII in Bm): VI → VII — the rising step that heads for the tonic. It closes on A, 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.