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)
Bedük - Son Sigaramsın - Chord
Key D major – B minor Chords F#, G, E Easy key C (capo 2)
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Key: D | Bm
Capo: 0
F# G F# G
Son sigaramsın veremem ellere
F# G F# G
Çekmeye kıyamam içime
F# G F#
Ben yanmışım yakamam seni de
G F# G F# E
Ucunda hasretim yanar özlemin her çekişimde
F# G F# G
Son sigaramsın içemem öylece
F# G F# G
Ne bana yar olursun ne de yaban ellere
F# G F#
Ben yanmışım yakamam seni de
G F# G F# G
Gün gelir alevlenir dolarsın göğsüme öylece
F# G F# G
Son sigaramsın veremem ellere
F# G F# G
Çekmeye kıyamam içime
F# G F# G
Son sigaramsın içemem öylece
F# G F# G
Ne bana yar olursun ne de yaban ellere
F# G F# G
Nefes nefes içimde her gün ayrı bir elveda
F# G
Yarın tekrar başlasın
F# G
Son sigaramsın
F# G
Son sigaramsın
End of song Play again?
Bedük - Son Sigaramsın Tabs
NotesX
Harmony analysis
Bedük – Son Sigaramsın: key and chord analysis
The song opens on F# and ends on G. 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 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 | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| II | E | Chromatic colour chordoutside the key | E · G# · B | 1× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| III | F# | Chromatic colour chordoutside the key | F# · A# · C# | 29× |
| IV | G | Subdominant — moves away from home | G · B · D | 28× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | — |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | — |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 1× |
| 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# | 29× |
| VI | G | Submediant — warm colour | G · B · D | 28× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
Analysis
The key pair is D major and its relative B minor (2 sharps). 3 different chords appear 58 times in total; 1 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. E step outside the scale as colour chords.
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 F#, land on F#, A#, C# — 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 E, land on E, G#, B — 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
- 3 semitones up
The song's harmonic story
The first chord is F#; the ear learns where home is within a second. F#, G, E carry the song: III–IV–II relative to D, V–VI–IV relative to Bm. F# is the interesting twist: in D it is a chromatic chord (III), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Ending on G, 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.
Bedük - Son Sigaramsın 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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