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)
Cengiz Kurtoğlu - Böyle Ayrılamayız - Chord
Key D major – B minor Chords Bm, A, D, Em, G, C#m, F# Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm Em A D G C#m F# A D
Bm Em A D G C#m F# Bm
Bm A
Bugün benim karşımda, ilk defa ağlıyorsun
Bm Em A D
Her şey burada bitsin, ayrılalım diyorsun
Bm Em A D
Hangi seven unutmuş, biz de unutamayız
G C#m F# A D
Boş yere veda etme, böyle ayrılamayız
Bm Em A D
Ayrılamayız unutamayız
G C#m F# Bm
Boş yere veda etme, böyle ayrılamayız
Bm A
Aramıza hiç kimse, girmesin ne olursun
Bm Em A D
Biliyorum sen hala, beni çok seviyorsun
End of song Play again?
Cengiz Kurtoğlu - Böyle Ayrılamayız Tabs
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Harmony analysis
Cengiz Kurtoğlu – Böyle Ayrılamayız: key and chord analysis
The song opens on Bm and ends on D. 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 it comes to rest on D, it opens on Bm, Bm is heard 10 times against 8 for D 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 | 8× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 6× |
| 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# | 4× |
| IV | G | Subdominant — moves away from home | G · B · D | 4× |
| V | A | Dominant — strongest pull home | A · C# · E | 10× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 10× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| vii | C#m | Chromatic colour chordoutside the key | C# · E · G# | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 10× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| ii | C#m | Chromatic colour chordoutside the key | C# · E · G# | 4× |
| III | D | Relative major — the bright side | D · F# · A | 8× |
| iv | Em | Subdominant — moves away from home | E · G · B | 6× |
| 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# | 4× |
| VI | G | Submediant — warm colour | G · B · D | 4× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 10× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 7 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. C#m step outside the scale as colour chords.
Chord movement
- A D DV → Iauthentic cadence BmVII → III ×8
- Em A Dii → Vii → V Bmiv → VII ×6
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×2
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×2
The move to watch is A → D, heard 8 times. From the Bm side it is VII → III; from the D side it reads V → I (authentic cadence: the strongest arrival 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 Bm, land on B, D, F# — 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.
- Over D, land on D, F#, A — 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.
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
The opening Bm lays a solid floor for everything that follows. The backbone is Bm, A, D, Em — vi–V–I–ii from the D side, i–VII–III–iv from the Bm side. 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 A → D (V → I in D, VII → III in Bm): authentic cadence — the strongest arrival home. The final chord is D; 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.
Cengiz Kurtoğlu - Böyle Ayrılamayız 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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