Bora Duran - Sana Doğru - Chord

Key D major – B minor Chords Bm, A, C#m, D Easy key C (capo 2)

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Capo 0

Bm  A

Bm   A     Bm   A      Bm   A     Bm   A
Buralardan geçiyordum seni gördüm vay
Bm     A    Bm    A    Bm    A      Bm   A
Artık aşktan kaçıyordum geri döndüm hay
Bm     C#m   D       A   Bm     A   Bm  A
Sordum kimdir bu güzellik insan olamaz
Bm     C#m  D        A   Bm      A  Bm  A
Öldüm sanki   cennet böyle güzel olamaz

Bm   A     Bm    A
Yürüyorum sana doğru
Bm   A     Bm    A
Görüyorsan bana doğru
Bm   A     Bm    A
Gel birazcık sola doğru
Bm   A     Bm    A
Seviyorsan bana doğru

Bm  A

Bm   A     Bm    A     Bm     A     Bm   A
Sevgilim sen şarap isen ben de testinim vay
Bm   A     Bm   A      Bm   A    Bm  A
Aşkın zehir olsa bile doldur içeyim
Bm     C#m   D       A   Bm     A   Bm  A
Sordum kimdir bu güzellik insan olamaz
Bm     C#m  D        A   Bm      A  Bm  A
Öldüm sanki   cennet böyle güzel olamaz

Bm   A     Bm    A
Yürüyorum sana doğru
Bm   A     Bm    A
Görüyorsan bana doğru
Bm   A     Bm    A
Gel birazcık sola doğru
Bm   A     Bm    A
Seviyorsan bana doğru

Bm  A

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Bora Duran - Sana Doğru Tabs

NotesX

Harmony analysis

Bora Duran – Sana Doğru: key and chord analysis

The song opens on Bm 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: to us the song feels closer to the B minor side because it opens on Bm and Bm is heard 47 times against 4 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	4×
ii	Em	Supertonic — prepares the dominant	E · G · B	—
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	47×
vi	Bm	Relative minor — the melancholy side	B · D · F#	47×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—
vii	C#m	Chromatic colour chordoutside the key	C# · E · G#	4×

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	47×
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	4×
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	47×

Analysis

The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 102 times in total; 3 of them sit naturally inside the shared scale. C#m step outside the scale as colour chords.

Chord movement

A Bm DV → videceptive cadence BmVII → iAeolian arrival ×46

The move to watch is A → Bm, heard 46 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over C#m, land on C#, E, G# — 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
3 semitones up

The song's harmonic story

Starting on Bm, the song gives away its key from the very first bar. The chords that keep coming back are Bm, A, C#m, D; read them as vi–V–vii–I in D or i–VII–ii–III in 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. The final chord is A; 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.