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)
Mor ve Ötesi - Büyük Düşler - Chord
Key D major – B minor Chords A, Bm, G, Em, A#m, C, F#, F#m … Easy key G (capo 7)
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Key: D | Bm
Capo: 0
G A Bm A Nedir ki zıplarlar ego tramplenlerinde Em A#m Bm C Kadınsız erkeksiz bir şehvet düşünün G A Bm A Oyundur, oynarlar, bitmiyor işgalleri Em A#m Bm C Ben seni oralardan çekip almadım mı Bm G Bu kadar sert mi, cevabın bana A Bm Aşkın öldüğü yerde, bu kadar mert mi G A Kaosun dili, aç şu kalbini söyle F#m G F# E Hayatın gerçek mi G A Bm A Nedir ki yıkarlar, kırılgan rüyamızı Em A#m Bm C Işıksız ve renksiz mimarlar düşünün G A Bm A Oyundur, oynarlar, bitmesin işgalleri Em A#m Bm C Uzundu sokaklar yürümek isterdim Em A F# G Gördüm, gördüm gördüm, büyük düşler gördüm
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Mor ve Ötesi - Büyük Düşler Tabs
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Harmony analysis
Mor ve Ötesi – Büyük Düşler: key and chord analysis
The song opens on G and ends on G. 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: to us the song feels closer to the B minor side because Bm is heard 10 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 5× |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 1× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 1× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 2× |
| IV | G | Subdominant — moves away from home | G · B · D | 8× |
| V | A | Dominant — strongest pull home | A · C# · E | 11× |
| bvi | A#m | Chromatic colour chordoutside the key | A# · C# · E# | 4× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 10× |
| bVII | C | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | C · E · G | 4× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 10× |
| bII | C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C · E · G | 4× |
| 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 | 5× |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 1× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 1× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 2× |
| VI | G | Submediant — warm colour | G · B · D | 8× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 11× |
| #vii | A#m | Chromatic colour chordoutside the key | A# · C# · E# | 4× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 9 different chords appear 46 times in total; 5 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. E acts as a secondary dominant, briefly pointing at another chord of the key. C is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- G A DIV → VIV → V BmVI → VIIVI → VII ×6
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×5
- Em A Dii → Vii → V Bmiv → VII ×1
The move to watch is G → A, heard 6 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 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.
- When F# comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
- On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.
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 G lays a solid floor for everything that follows. A, Bm, G, Em carry the song: V–vi–IV–ii relative to D, VII–i–VI–iv 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. The final chord is G; the ear comes to rest in D.
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.
Mor ve Ötesi - Büyük Düşler 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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