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)
Doğa İçin Çal - Ateş Attım Samana (Gımıldan) - Chord
Key D major – B minor Chords Bm, E, A, G, D Easy key G (capo 7)
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Key: D | Bm
Capo: 0
E Bm Ateş attım samana D E Bak dumana dumana Bm E Senin zalım ananı D E Bm Ben getirdim imana Bm A G Bm Gımıldan gımıldan gımıldanıver G A Bm Ah şöyle nazlım gımıldanıver E G A Bm Gımıldan gımıldan gımıldanıver G A Bm Ah şöyle nazlım gımıldanıver E Bm Gayfe de koydum fincana D E Selam söylen amcama Bm E Amcam kızını vermezse D E Bm Turşu da kursun fincana Bm A G Bm Gımıldan gımıldan gımıldanıver G A Bm Ah şöyle nazlım gımıldanıver E G A Bm Gımıldan gımıldan gımıldanıver G A Bm Ah şöyle nazlım gımıldanıver E Bm Bahçede hanımeli D E Derdinden oldum deli Bm E Alemde hüner odur D E Bm Sevmeli sevilmeli E Bm Akardım çağlamazdım D E Gülerdim ağlamazdım Bm E Bileydim gelmeyceni D E Bm Seviler bağlamazdım Bm A G Bm Gımıldan gımıldan gımıldanıver G A Bm Ah şöyle nazlım gımıldanıver E G A Bm Gımıldan gımıldan gımıldanıver G A Bm Ah şöyle nazlım gımıldanıver
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Doğa İçin Çal - Ateş Attım Samana (Gımıldan) Tabs
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Harmony analysis
Doğa İçin Çal – Ateş Attım Samana (Gımıldan): key and chord analysis
The song opens on E 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 and Bm is heard 27 times against 8 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 | 8× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 19× |
| 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 | 12× |
| V | A | Dominant — strongest pull home | A · C# · E | 12× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 27× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 27× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 8× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 19× |
| 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 | 12× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 12× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 78 times in total; 4 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×9
- G A DIV → VIV → V BmVI → VIIVI → VII ×9
- G Bm DIV → vi BmVI → iVI → i ×3
The move to watch is A → Bm, heard 9 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 E, 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
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is E; the ear learns where home is within a second. The chords that keep coming back are Bm, E, A, G; read them as vi–V/V–V–IV in D or i–IV–VII–VI in Bm. E adds a moment of surprise: secondary dominant V/V — leads to A. Keep an ear on A → Bm (V → vi in D, VII → i in Bm): Aeolian arrival — rises a whole tone into home. Ending on Bm, the song seals Bm 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.
Doğa İçin Çal - Ateş Attım Samana (Gımıldan) 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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