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 - Lades - Chord
Key D major – B minor Chords A, Bm, G, F#m Easy key G (capo 7)
No ratings yet
or your user informations
Make it yours
Text size
Key: D | Bm
Capo: 0
Bm F#m A G
Her nerede bir beyaz görsem, ben de siyah ekliyordum
Bm F#m A G
Yollarına güller saçtım ama sen takılıp düşüyordun
Bm A F#m G Bm
Emeklerime çökenlerden, peşimdeki köpeklerden
A F#m G Bm
Kaçıp dururken bile, ben hep seni düşlüyordum
Bm A G
Tüm bunları(Tüm lafları) ben göğüslendim, nasıl heveslendim
A
Bile bile lades, dönüşü yok
F#m G A
Düşmedim ama tökezlendim, biraz nefeslendim
G A Bm
Savaşacağım, çaresi yok
x2
Bm F#m A G
Her nerede bir güneş batsa, ben burada üşüyordum
Bm F#m A G
Başıma her ne geldiyse, anlatmadım gizliyordum
Bm A F#m G Bm
İzi kalır, geçmez yaram, çıldırtır zaman zaman
A F#m G Bm
Henüz kırk bile olmadan, göçmüşüm bilmiyordum
Bm A G
Tüm bunları(Tüm lafları) ben göğüslendim, nasıl heveslendim
A
Bile bile lades, dönüşü yok
F#m G A
Düşmedim ama tökezlendim, biraz nefeslendim
G A Bm
Savaşacağım, çaresi yok
x2
End of song Play again?
Yüzyüzeyken Konuşuruz - Lades Tabs
NotesX
Harmony analysis
Yüzyüzeyken Konuşuruz – Lades: 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 14 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# | 10× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 14× |
| V | A | Dominant — strongest pull home | A · C# · E | 16× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 14× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 14× |
| 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# | 10× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 14× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 16× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 54 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
- G Bm DIV → vi BmVI → iVI → i ×8
- G A DIV → VIV → V BmVI → VIIVI → VII ×6
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×2
The move to watch is G → Bm, heard 8 times. From the Bm side it is VI → i (VI → i: falls a half step into home); from the D side it reads IV → 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 A, land on A, C#, E — 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
- 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. A, Bm, G, F#m carry the song: V–vi–IV–iii relative to D, VII–i–VI–v relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Bm (IV → vi in D, VI → i in Bm): VI → i — falls a half step into 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.
Yüzyüzeyken Konuşuruz - Lades 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Kaan BoşnakMusic: Kaan BoşnakArrangement: Mert Medeni, Kaan Boşnak
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.