Özer Atik - Ben Varım - Chord

Key D major – B minor Chords Dm, C, Bb, A Easy key A (capo 5)

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Capo 0

Dm                      C
Ben varım hayıflanır sevdan içimde
Bb                      A
Ayıplanır gözyaşım ağlayamam
Dm                     C
Ben varım her gün başka biçimde
Bb                                        A
Seni her an düşünen bir yalnızım kendi içimde

Dm
Ne olur dön yeter ki gel
C
Herşeye gücüm yeter
Bb                         A
Ben bunları hakedecek ne yaptım

Dm
Ne olur dön yeter ki sev
C
Sevgi herşeye yeter
Bb
Bir başıma bile senleyim
 A
Senle beraber

Dm                              C
Ama bir de ben varım yolunu gözler
Bb                             A
Geçmişe bakar bakar ağlar bu gözler
Dm                       C    
Ben varım hayıflanır sevdan içimde
Bb                        A
Ayıplanır gözyaşım ağlayamam
Dm                     C
Ben varım her gün başka biçimde
Bb                                        A
Seni her an düşünen bir yalnızım kendi içimde
DM
Ben varım

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Özer Atik - Ben Varım Tabs

NotesX

Harmony analysis

Özer Atik – Ben Varım: key and chord analysis

The song opens on Dm 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: we can't honestly pick a side here — the song moves freely between D major and B minor. 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 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	—
i	Dm	Chromatic colour chordoutside the key	D · F · A	7×
ii	Em	Supertonic — prepares the dominant	E · G · B	—
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
III	F#	Chromatic colour chordoutside the key	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	—
V	A	Dominant — strongest pull home	A · C# · E	7×
bVI	Bb	Borrowed from the parallel minorborrowed chord	Bb · D · F	7×
vi	Bm	Relative minor — the melancholy side	B · D · F#	—
bVII	C	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	C · E · G	7×
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#	—
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	7×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iii	Dm	Chromatic colour chordoutside the key	D · F · A	7×
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	—
VII	A	Subtonic — steps back to the tonic	A · C# · E	7×
#VII	Bb	Chromatic colour chordoutside the key	Bb · D · F	7×

Analysis

The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 28 times in total; 1 of them sit naturally inside the shared scale. C, Bb are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
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 down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. Dm, C, Bb, A carry the song: i–bVII–bVI–V relative to D, iii–bII–#VII–VII relative to Bm. C briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Ending on A, the song seals D as home.

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.