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)
Bülent Ortaçgil - Çığlık Çığlığa - Chord
Key D major – B minor Chords A, G, Bm, D Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm A G A
Bm A G A G A Bm
Seni sevdiğimi anladığım günden beri sesler değişti, renkler değişti
Bm A G A G A Bm
Yüzümdeki çizgiler başkalaştı geçmişim değişti, oyunlaştı
G A D G A D
Yeşilin ortasında gelincik gibi inceleşti, yabancılaştı
G A D G A
Siste bağıran vapur düdükleri gibi geliyor muyuz, gidecek miyiz yoksa
Bm A G A
Çığlık çığlığa
Bm A G A G A Bm
Seni sevdiğimi anladığım günden beri hiçlik değişti, yokluk değişti
Bm A G A G A Bm
Karşılıksızlığım dengeleşti günler değişti, sana dönüştü
G A D G A D
Nasıl gördüğün düşü yeniden istersen, nasıl bir yılgınlıktır sabah zilleri
G A D G A
Zamanı gelince nasıl terkeder kuşlar, kaçıyor muyuz, kalacak mıyız yoksa
Bm A G A
Çığlık çığlığa
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Bülent Ortaçgil - Çığlık Çığlığa Tabs
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Harmony analysis
Bülent Ortaçgil – Çığlık Çığlığa: key and chord analysis
The song opens on Bm and ends on A. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because it opens on Bm and Bm is heard 11 times against 6 for D. 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 | 6× |
| 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# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 19× |
| V | A | Dominant — strongest pull home | A · C# · E | 26× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 11× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 11× |
| 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 | — |
| 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 | 19× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 26× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 62 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- G A DIV → VIV → V BmVI → VIIVI → VII ×19
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×8
- A D DV → Iauthentic cadence BmVII → III ×6
The move to watch is G → A, heard 19 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 G, land on G, B, D — 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.
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
The song's harmonic story
The first chord is Bm; the ear learns where home is within a second. The backbone is A, G, Bm, D — V–IV–vi–I from the D side, VII–VI–i–III from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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 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.
Bülent Ortaçgil - Çığlık Çığlığa 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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