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)
Zeynep Bakşi Karatağ - Derdim Gizli - Chord
Key D major – B minor Chords Bm, Em, A, D, E, G Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm D Em Em Bm D Em Bm A G Bm A E Bm Derdim gizli kimselere diyemem A E Bm Bir derdi sevdaya saldı yar beni A E Bm Ben kendi halımla yanar dururken Bm D Em Bir derdi sevdaya saldı yar beni dost dost Bm D Em Bm Yar beni dost dost, yar beni dost dost A G Bm Yar beni dost Bm D Em Em Bm D Em Bm A G Bm A E Bm Yara doğru aktı gönül deresi A E Bm Sargı tutmaz imiş aşkın yarası A E Bm Böyle imiş bu dünyanın töresi Bm D Em Bir derdi sevdaya saldı yar beni dost dost Bm D Em Bm Yar beni dost dost, yar beni dost dost A G Bm Yar beni dost Bm D Em Em Bm D Em Bm A G Bm A E Bm Akarsu derdimi çekeyim dara A E Bm Neyimi söyleyim kör oğlu köre A E Bm Dünya düşman olsa sevdim bir kere Bm D Em Bir derdi sevdaya saldı yar beni dost dost Bm D Em Bm Yar beni dost dost, yar beni dost dost A G Bm Yar beni dost
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Zeynep Bakşi Karatağ - Derdim Gizli Tabs
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Harmony analysis
Zeynep Bakşi Karatağ – Derdim Gizli: 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 33 times against 12 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 | 12× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 15× |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 9× |
| 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 | 6× |
| V | A | Dominant — strongest pull home | A · C# · E | 15× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 33× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 33× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 12× |
| iv | Em | Subdominant — moves away from home | E · G · B | 15× |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 9× |
| 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 | 6× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 15× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 90 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
- Em Bm Dii → vi Bmiv → iminor plagal ×12
- G Bm DIV → vi BmVI → iVI → i ×6
The move to watch is Em → Bm, heard 12 times. From the Bm side it is iv → i (minor plagal: deep and melancholic); from the D side it reads ii → 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 Em, 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 opening Bm lays a solid floor for everything that follows. The chords that keep coming back are Bm, Em, A, D; read them as vi–ii–V–I in D or i–iv–VII–III in Bm. E adds a moment of surprise: secondary dominant V/V — leads to A. Keep an ear on Em → Bm (ii → vi in D, iv → i in Bm): minor plagal — deep and melancholic. The final chord is Bm; the ear comes to rest in Bm.
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.
Zeynep Bakşi Karatağ - Derdim Gizli 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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Lyrics: Muhlis AkarsuMusic: Muhlis Akarsu
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