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)
Ufuk Beydemir - Onlara Sor - Chord
Key D major – B minor Chords D, B, F#, A, G Easy key C (capo 2)
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Key: D | Bm
Capo: 0
B D F# Güneş çoktan battı şehirde B D F# Sen hala parlıyorsun B D F# Hala yalnız gözüküyorsun B D F# Neden kaçıyorlar güneşinden? D A G Sor onlara sor, onlara sor D A G Kaç güneşimden, güneşimden B D F# Yıldızları her gece sayıyorsun B D F# Evlatların sanki onlar B D F# Kendinden de sıkılıyorsun B D F# Ellerinde tüm bulutlar
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Ufuk Beydemir - Onlara Sor Tabs
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Harmony analysis
Ufuk Beydemir – Onlara Sor: key and chord analysis
The song opens on B and ends on F#. 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)
- #7 = A# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between D major and B minor because D is heard 10 times while Bm never appears and the major V chord points straight at Bm. Try reading the chords both ways and see which feels more like home to you.
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 | 10× |
| 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# | 8× |
| IV | G | Subdominant — moves away from home | G · B · D | 2× |
| V | A | Dominant — strongest pull home | A · C# · E | 2× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | — |
| VI | B | Chromatic colour chordoutside the key | B · D# · F# | 8× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | — |
| I | B | Chromatic colour chordoutside the key | B · D# · F# | 8× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 10× |
| 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# | 8× |
| VI | G | Submediant — warm colour | G · B · D | 2× |
| 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). 5 different chords appear 30 times in total; 3 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. B step outside the scale as colour chords.
Chord movement
- G D DIV → Iplagal cadence BmVI → III ×1
The move to watch is G → D, heard once. From the D side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Bm side it is VI → III. 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over F#, land on F#, A#, C# — 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is B; the ear learns where home is within a second. D, B, F#, A carry the song: I–VI–V/vi–V relative to D, III–I–V–VII 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 → D (IV → I in D, VI → III in Bm): plagal cadence — the soft 'amen' ending. It closes on F#, 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.
Ufuk Beydemir - Onlara Sor 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: Ufuk BeydemirMusic: Ufuk BeydemirArrangement: Ufuk Beydemir
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