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)
Zülfü Livaneli - Gözlerin - Chord
Key D major – B minor Chords Bm, Em, A, D Easy key C (capo 2)
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Key: D | Bm
Capo: 0
D Em Bm Em A Bm Bm Düşlerin parlayıp söndüğü yerde Buluşmak seninle bir akşam üstü Em A Bm Umarsız şarkılar dudağımda bir yarım ezgi Em A Bm Sığınmak, gözlerine sığınmak bir akşamüstü D Em Bm Gözlerin bir çığlık, bir yaralı haykırış Em A Bm Gözlerin bu gece çok uzaktan geçen bir gemi D Em Bm Em A Bm Bm Bir orman bir gece kar altındayken Çocuksu, uçarı koşmak seninle Em A Bm Elini avcumda bulup yitirmek, yitirmek Em A Bm Sığınmak, ellerine sığınmak bir gece vakti D Em Bm Ellerin bir martı, telaşlı ve ürkek Em A Bm Ellerin fırtınada çırpınan bir beyaz yelken D Em Bm Em A Bm Bm Bir kenti böylece bırakıp gitmek İçinde bin kaygı, binbir soruyla Em A Bm Bitmemiş bir şarkı dudağımda bir yarım ezgi Em A Bm Sığınmak, şarkılara sığınmak bir ömür boyu D Em Bm Gözlerin bir çığlık, bir yaralı haykırış Em A Bm Gözlerin bu gece çok uzaktan geçen bir gemi D Em Bm Ellerin bir martı, telaşlı ve ürkek Em A Bm Ellerin fırtınada çırpınan bir beyaz yelken
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Zülfü Livaneli - Gözlerin Tabs
/videos/zulfu-livaneli-gozlerin-tab.mp4
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Harmony analysis
Zülfü Livaneli – Gözlerin: key and chord analysis
The song opens on D and ends on Bm. 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 comes to rest on Bm, it opens on D and Bm is heard 23 times against 7 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 | 7× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 20× |
| 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 | — |
| V | A | Dominant — strongest pull home | A · C# · E | 13× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 23× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 23× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 7× |
| iv | Em | Subdominant — moves away from home | E · G · B | 20× |
| 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 | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 13× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 63 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
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×13
- Em A Dii → Vii → V Bmiv → VII ×13
- Em Bm Dii → vi Bmiv → iminor plagal ×7
The move to watch is A → Bm, heard 13 times. From the Bm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the D side it reads V → vi (deceptive cadence: expected D, lands on Bm). 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Em, 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.
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
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on D, the song gives away its key from the very first bar. Bm, Em, A, D carry the song: vi–ii–V–I relative to D, i–iv–VII–III relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → Bm (V → vi in D, VII → i in Bm): Aeolian arrival — rises a whole tone into home. It closes on Bm, letting the Bm 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.
Zülfü Livaneli - Gözlerin 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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