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)
Jehan Barbur - Selvi Boylum Al Yazmalım - Chord
Key D major – B minor Chords A, Bm, D, G, E, F#m Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm D A G
Bm D A D Bm
Tuttum eli sıcacıktı yüreği elindeymiş gibi
D A D
Götür beni deli oğlan sevdiğine yol versin
A G A Bm
Bu dağlar bu taşlar, rüzgarlı ovalar, dağılan yağmurlar
A G A Bm
Al yazmam serde gönlüm başka elde, sevmek dostluktur dilde
A E F#m D E
Sevgi neydi, sevgi emekti, uçuşan yaprak, boş bir salıncak
A E F#m D E
Senden başka, yok hiç kimse, düşerim dara, içim yara
A G A Bm
Gelirim ardı sıra, dön bak bana, yoksan boştur Asya
A G A Bm
Gelirim ardı sıra, dön bak bana, yoksan yoktur Asya
Bm D A D Bm
Nakışladı kamyonunu, kırmızıdandır yavuklusu
Bm D A D
Götür beni, İstanbul'lu, annem duyarsa duysun
A G A Bm
Bizi saklar dağlar, taştan bu ovalar, dağılan yağmurlar hey
A G A Bm
Al yazmam sende, gönlüm başka elde, sevmek dostluktur dilde
End of song Play again?
Jehan Barbur - Selvi Boylum Al Yazmalım Tabs
/videos/jehan-barbur-selvi-boylum-al-yazmalim-tab.mp4
NotesX
Harmony analysis
Jehan Barbur – Selvi Boylum Al Yazmalım: key and chord analysis
The song opens on Bm 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 both starts and finishes on Bm and Bm is heard 12 times against 11 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 | 11× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 4× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 2× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 7× |
| V | A | Dominant — strongest pull home | A · C# · E | 19× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 12× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 12× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 11× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 4× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 2× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 7× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 19× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 55 times in total; 5 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 ×6
- G A DIV → VIV → V BmVI → VIIVI → VII ×6
- A D DV → Iauthentic cadence BmVII → III ×4
- G Bm DIV → vi BmVI → iVI → i ×1
The move to watch is A → Bm, heard 6 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — 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.
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 opening Bm lays a solid floor for everything that follows. The backbone is A, Bm, D, G — V–vi–I–IV from the D side, VII–i–III–VI from the Bm side. 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.
Jehan Barbur - Selvi Boylum Al Yazmalım 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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