Teoman - Sürpriz (Aşk Nedensiz Sevmekmiş) - Chord

Key D major – B minor Chords A7, D, G, Em, Bm, Gm, A Easy key G (capo 7)

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Capo 0

D                         
Ne güzel sürpriz bu böyle, hoşgeldin
                      G                
Boşver çabalama konuşmak zorunda değilsin
Gm                      Em        
Hem hareketlerinden, küçücük mimiklerinden
A7              D
Kalbini okurum ben

D                                         
Bütün gün yataktaydım yüzümde yastık izi
                     G
Seninse geçmişinde binlerce ağır yenilgi
Gm                  Em
Çok şaka yaptıysam aslında korktuğumdan
A7                   D   A
Beni zaten tanırsın sen

Bm          A           G     Em    A7   Bm       
Derler ki bir yerden sonra, acımaz daha fazla
Bm          A7         G      Em    A7  Bm
Zaten aşk kötü bir şaka, anlamaya calışma
Bm         A7     Gm
Her güzel şey bitermiş, aşk nedensiz sevmekmiş

D
Kulağımda gürültüler, uyurken televizyon açık kalmış 
                             G
Bir ülkenin bodrum katında, kirli bir savaş varmış 
Gm                  Em
Midem bulanıyor, galiba dünya tuttu 
A7            D   A
Beni hep kuruttu

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Teoman - Sürpriz (Aşk Nedensiz Sevmekmiş) Tabs

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Harmony analysis

Teoman – Sürpriz (Aşk Nedensiz Sevmekmiş): key and chord analysis

The song opens on D and ends on A. 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: to us the song feels closer to the D major side because it opens on D and D is heard 6 times against 5 for Bm. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.

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	6×
ii	Em	Supertonic — prepares the dominant	E · G · B	5×
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#	—
IV	G	Subdominant — moves away from home	G · B · D	5×
iv	Gm	Minor iv — borrowed from the parallel minorborrowed chord	G · Bb · D	4×
V7	A7	Dominant — strongest pull home	A · C# · E · G	7×
V	A	Dominant — strongest pull home	A · C# · E	3×
vi	Bm	Relative minor — the melancholy side	B · D · F#	5×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	5×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	6×
iv	Em	Subdominant — moves away from home	E · G · B	5×
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#	—
VI	G	Submediant — warm colour	G · B · D	5×
vi	Gm	Chromatic colour chordoutside the key	G · Bb · D	4×
VII7	A7	Subtonic — steps back to the tonic	A · C# · E · G	7×
VII	A	Subtonic — steps back to the tonic	A · C# · E	3×

Analysis

The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 35 times in total; 6 of them sit naturally inside the shared scale. Gm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Em A7 Dii → V7ii → V Bmiv → VII7 ×5
A7 D DV7 → Iauthentic cadence BmVII7 → III ×3
A7 Bm DV7 → videceptive cadence BmVII7 → iAeolian arrival ×2
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1
Gm D Div → Iminor plagal Bmvi → III ×1

The move to watch is Em → A7, heard 5 times. From the D side it reads ii → V7 (ii → V: the classic preparation of the dominant); from the Bm side it is iv → VII7. 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 A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over D, land on D, F#, A — 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.
On Gm, follow the chord's notes (G · Bb · D) 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
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening D lays a solid floor for everything that follows. The chords that keep coming back are A7, D, G, Em; read them as V7–I–IV–ii in D or VII7–III–VI–iv in Bm. Gm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Em → A7 (ii → V7 in D, iv → VII7 in Bm): ii → V — the classic preparation of the dominant. The final chord is A; 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.