Duman - Eski Köprünün Altında - Chord

Key A major – F# minor Chords E, A, Db, Bm, D, F#m, Abm, Ab Easy key C

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Capo 0

E  A  E  E  E  A  E  E

E                                             E  A  E  E  E  A  E  E 
Denizler aştım geliyorum bilirsin derdim seninle
E                                              E  A  E  E  E  A  E  E
Yolumdan döndüm kopuyorum bilirsin derdim seninle

D          Db        F#m        Bm         D
Denizler aştım geliyorum ister eğlen benimle
           Db        F#m   Abm  A  Bm
Yüzünü bir görsem yeter
D       Db         F#m     Bm            D
Yolumuz ayrı biliyorum ölmeden son bir defa
         Db        F#m   Abm  A  Bm
Belini kavrasam yeter

D     Db       F#m       Bm           D
Hadi gel buluşalım eski köprünün altında
      Db       F#m   Abm A  Bm
Kimseler görmesin
D    Db            F#m       Bm           D
Mehtaba karşı uzanalım eski köprünün altında
     Db          F#m   Abm  A  Bm  Ab
Kimseler bilmesin
     Db       Bm
Kimseler duymasın

E  A  E  E  E  A  E  E

End of song Play again?

Duman - Eski Köprünün Altında Tabs

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Harmony analysis

Duman – Eski Köprünün Altında: key and chord analysis

The song opens on E and ends on E. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

7 = G# (leading tone, pulls home)
4 = D (the note that leans on the 3rd)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)
#7 = E# (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 A major and F# minor because A is heard 12 times against 8 for F#m and the major V chord points straight at F#m. 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 A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	12×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	9×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
V/vi	Db	Secondary dominant V/vi — leads to F#msecondary dominant	Db · F · Ab	9×
IV	D	Subdominant — moves away from home	D · F# · A	8×
V	E	Dominant — strongest pull home	E · G# · B	26×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	8×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—
vii	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	4×
V/iii	Ab	Secondary dominant V/iii — leads to Dbmsecondary dominant	Ab · C · Eb	1×

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	8×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
ii	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	4×
V/v	Ab	Secondary dominant V/v — leads to Dbmsecondary dominant	Ab · C · Eb	1×
III	A	Relative major — the bright side	A · C# · E	12×
iv	Bm	Subdominant — moves away from home	B · D · F#	9×
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V	Db	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Db · F · Ab	9×
VI	D	Submediant — warm colour	D · F# · A	8×
VII	E	Subtonic — steps back to the tonic	E · G# · B	26×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 8 different chords appear 77 times in total; 5 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same Db is V/vi, a secondary dominant heading for F#m. Ab acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

E A AV → Iauthentic cadence F#mVII → III ×8
Db F#m AV/vi → vi F#mV → iharmonic-minor cadence ×8
Bm E Aii → Vii → V F#miv → VII ×1

The move to watch is E → A, heard 8 times. From the A side it reads V → I (authentic cadence: the strongest arrival home); from the F#m side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over E, land on E, G#, B — 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.
Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
When Db comes, swap the scale's E for E#: 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening E lays a solid floor for everything that follows. The chords that keep coming back are E, A, Db, Bm; read them as V–I–V/vi–ii in A or VII–III–V–iv in F#m. Db is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on E → A (V → I in A, VII → III in F#m): authentic cadence — the strongest arrival home. It closes on E, letting the A 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.