Adamlar - Mavi Ekran - Chord

Key D major – B minor Chords Bm, Dm, C, Cm, Bb, F#, G Easy key E

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Capo 0


----------2-7-7-7-7-6-----------------------------------------
----------------------8-7--5h7-5-5-5-5------------------------
--------3------------------------------7-6-4--6-4-3-----------
4-4-4-4---------------------------------------------4-------4-
------------------------------------------------------2-4-5---
--------------------------------------------------------------

Dm          C
Dalmışım saklayamıyorum
   Cm              Bb
Bi beş yüz yıl atlayamıyorum
Dm              C
Ağzını da bantlayamıyorum
     Cm               Bb
Maymunun koca karının kafamda

   Dm                C
Yol almışım oraya gelemiyorum
        Cm                Bb
Başımda kara bulutlar eğlenemiyorum
Dm                      C
Aşk, para, ölüm üçgeninde ömrüm
      Cm                       Bb
Merak ettim fazlasını zorladım aklım ve gönlüm

Bm                      G
Tekrar tekrar yine bana mavi ekran
Bm                      F#
Tekrar tekrar yine bana kılıç kalkan
Bm                      G
Tekrar tekrar yine bana hain düşman
Bm     F#     Bm             F#     Bm
Derken çok yüklendim, tekrar pardon kendim

Dm                   C
Bunca eziyet yedik nereye gitti
        Cm                 Bb
Diyosun unutuyosun kendi meziyetini
Dm                         C
Aşk sıcak bir ruh aramızda köprüdür ben bittim diyeni
Cm                  Bb
Tabuttan fırlatır köpürtür nehirleri

Dm                  C
Taşırır dereleri takmaz faça maça
           Cm                    Bb
Yekten ihtişam saçar çölü cennet bahçesine çevirir
Dm                   C
Delilerin göz bebekleri ince kristal
       Cm                    Bb
Yalnız bilenler görür ışığın rengini

Bm                      G
Tekrar tekrar yine bana mavi ekran
Bm                      F#
Tekrar tekrar yine bana kılıç kalkan
Bm                      G
Tekrar tekrar yine bana hain düşman
Bm     F#     Bm             F#     Bm
Derken çok yüklendim, tekrar pardon kendim

End of song Play again?

Adamlar - Mavi Ekran Tabs

NotesX

Harmony analysis

Adamlar – Mavi Ekran: key and chord analysis

The song opens on Dm and ends on Bm. 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)
#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 Bm, Bm is heard 12 times while D never appears 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
i	Dm	Chromatic colour chordoutside the key	D · F · A	8×
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#	6×
IV	G	Subdominant — moves away from home	G · B · D	4×
V	A	Dominant — strongest pull home	A · C# · E	—
bVI	Bb	Borrowed from the parallel minorborrowed chord	Bb · D · F	8×
vi	Bm	Relative minor — the melancholy side	B · D · F#	12×
bVII	C	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	C · E · G	8×
bvii	Cm	Chromatic colour chordoutside the key	C · Eb · G	8×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	12×
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	8×
bii	Cm	Chromatic colour chordoutside the key	C · Eb · G	8×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iii	Dm	Chromatic colour chordoutside the key	D · F · A	8×
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#	6×
VI	G	Submediant — warm colour	G · B · D	4×
VII	A	Subtonic — steps back to the tonic	A · C# · E	—
#VII	Bb	Chromatic colour chordoutside the key	Bb · D · F	8×

Analysis

The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 54 times in total; 2 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, Bb are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×6
G Bm DIV → vi BmVI → iVI → i ×4

The move to watch is F# → Bm, heard 6 times. From the Bm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V/vi → vi. 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — 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.
On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.

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 up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening Dm lays a solid floor for everything that follows. The backbone is Bm, Dm, C, Cm — vi–i–bVII–bvii from the D side, i–iii–bII–bii 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 F# → Bm (V/vi → vi in D, V → i in Bm): harmonic-minor cadence — the major V resolves dramatically. 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.