Athena - Gülün Dikeni - Chord

Key D major – B minor Chords C#, F#m, A7, E, D, Bm, Bm7, G#7 … Easy key F

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Capo 0

C#   Bm   D
C#   Bm   G

C#            Bm7          C#
Dolanıyorum deli bir başıma sokaklarda
A7         G#7             F#m   E   F#m
Hatırlamam zor salak ismini bile  eeee
C#               Bm7    C#    
O yassı bakışların gözümün feri gülün dikeni 
A7             G#7        F#m     E   F#m
Gel şu aşkını sokuver yüreğime
C#              F#m
Kim anlar benim halimden
     G#                   A7
Başka türlü bir af çektim dünyalara
C#          F#m        G#          A7     
Yarılıyor içim bu gece ilacı varsa gitsin
C#    F#m           C# F#m
Gel kahpe dünyaya aldandıkça ağla
C#   F#m          E   D
Aldandıkça ağla, ooo ooo
C#  F#m         C#    F#m
Feleğin çemberi dar geliyor bana
C#  F#m            E    D   
Dar geliyor bana, ooo ooo

End of song Play again?

Athena - Gülün Dikeni Tabs

NotesX

Harmony analysis

Athena – Gülün Dikeni: key and chord analysis

The song opens on C# and ends on D. 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: we can't honestly pick a side here — the song moves freely between D major and B minor because it comes to rest on D and Bm is heard 4 times against 3 for D. 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	3×
ii	Em	Supertonic — prepares the dominant	E · G · B	—
V/V	E	Secondary dominant V/V — leads to Asecondary dominant	E · G# · B	4×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	12×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	1×
#IV7	G#7	Chromatic colour chordoutside the key	G# · B# · D# · F#	2×
#IV	G#	Chromatic colour chordoutside the key	G# · B# · D#	2×
V7	A7	Dominant — strongest pull home	A · C# · E · G	4×
vi	Bm	Relative minor — the melancholy side	B · D · F#	2×
vi7	Bm7	Relative minor — the melancholy side	B · D · F# · A	2×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—
V/iii	C#	Secondary dominant V/iii — leads to F#msecondary dominant	C# · E# · G#	14×

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	2×
i7	Bm7	Tonic — home	B · D · F# · A	2×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
V/v	C#	Secondary dominant V/v — leads to F#msecondary dominant	C# · E# · G#	14×
III	D	Relative major — the bright side	D · F# · A	3×
iv	Em	Subdominant — moves away from home	E · G · B	—
IV	E	Major IV — Dorian / melodic-minor colourmodal colour	E · G# · B	4×
v	F#m	Minor dominant — soft pull	F# · A · C#	12×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	1×
#VI7	G#7	Chromatic colour chordoutside the key	G# · B# · D# · F#	2×
#VI	G#	Chromatic colour chordoutside the key	G# · B# · D#	2×
VII7	A7	Subtonic — steps back to the tonic	A · C# · E · G	4×

Analysis

The key pair is D major and its relative B minor (2 sharps). 10 different chords appear 46 times in total; 6 of them sit naturally inside the shared scale. C#, E act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 C#, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over A7, land on A, C#, E — 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

3 semitones up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The opening C# lays a solid floor for everything that follows. C#, F#m, A7, E carry the song: V/iii–iii–V7–V/V relative to D, V/v–v–VII7–IV relative to Bm. C# adds a moment of surprise: secondary dominant V/iii — leads to F#m. Ending on D, the song seals D as home.

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.