Kayahan - Elmanın Yarısı - Chord

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

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Capo 0

D  G

D
Bana bu aşkın lazım 
        G       D
Bana yalan dünyada
D                            
Denize düşmüş kalbim 
     G           D
Boğulur imdatlarda 
D
Bana bu aşkın lazım 
          G      D  
Bana hep illaki sen 

D              A
Bir el ver yardım et 
       A         D 
Bir nefes bir medet

F#m          Bm
Vallahi billahi
F#m          Bm
Vallahi billahi
A     Bm
Alem fani 

F#m       G          
Ben yorgun seyyahım 
F#m    G       
Sen güzel siyahım 

Bm
Usul usul yavaşça şöyle 
F#m
Sokul bana sokul kal öyle 
Bm
Sıram gelip hayat bitince 
A                      F#m
Bu elmanın yarısı olmayacak

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Kayahan - Elmanın Yarısı Tabs

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Harmony analysis

Kayahan – Elmanın Yarısı: key and chord analysis

The song opens on D and ends on F#m. 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 D major side because it opens on D and D is heard 9 times against 5 for Bm. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.

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	9×
ii	Em	Supertonic — prepares the dominant	E · G · B	—
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	6×
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	4×
vi	Bm	Relative minor — the melancholy side	B · D · F#	5×
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#	5×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	9×
iv	Em	Subdominant — moves away from home	E · G · B	—
v	F#m	Minor dominant — soft pull	F# · A · C#	6×
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	4×

Analysis

The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 30 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

G D DIV → Iplagal cadence BmVI → III ×4
F#m Bm Diii → vi Bmv → inatural-minor cadence ×3
A D DV → Iauthentic cadence BmVII → III ×1
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1
G Bm DIV → vi BmVI → iVI → i ×1

The move to watch is G → D, heard 4 times. From the D side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Bm side it is VI → III. 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — 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
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening D lays a solid floor for everything that follows. The backbone is D, G, F#m, Bm — I–IV–iii–vi from the D side, III–VI–v–i from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → D (IV → I in D, VI → III in Bm): plagal cadence — the soft 'amen' ending. Ending on F#m, the song seals D 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.