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)
Oğuzhan Koç - Unutma Bari Beni - Chord
Key D major – B minor Chords F#m7, Bm, Em7, F#m, G, Gmaj7 Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm F#m7 Bm F#m7
Bm
Aldığım nefes yarım
Kaldım bak yetim
Em7 F#m
Aşk sandığım herşey yalanmış
Bm
Ben böyle bittim
Baktığım çiçek solar
Gözlerim dolar
Em7 F#m
Her attığım adım boşaymış
Bm
Gün bana batar
Bm
Görmedim duymadım bahtsız hiç ben gibi
Em7 F#m7
Yazmamış kader
Bm
Sövmedim saymadım isyankarlar gibi
Em7 F#m7
Hep daha beter
G F#m7
Bana bir işaret göndersin
G F#m7 Em7
Ya da alsın canımı yeter
Bm F#m7
Alnımda yazmasa da
Em7 F#m7
Ben hep sevdim seni
Gmaj7 F#m7
Kalbine alma ama
Em7 F#m7
Unutma bari beni
Bm F#m7
Alnımda yazmasa da
Em7 F#m7
Ben hep sevdim seni
Gmaj7 F#m7
Kalbine alma ama
Em7 F#m7
Unutma bari beni
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Oğuzhan Koç - Unutma Bari Beni Tabs
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Harmony analysis
Oğuzhan Koç – Unutma Bari Beni: key and chord analysis
The song opens on Bm and ends on F#m7. 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 opens on Bm and Bm is heard 9 times while D never appears. 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 | — |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 9× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 14× |
| 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 | 2× |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 2× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 9× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 9× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 9× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 14× |
| 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 | 2× |
| VImaj7 | Gmaj7 | Submediant — warm colour | G · B · D · F# | 2× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 38 times in total; 6 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
- F#m7 Bm Diii7 → vi Bmv7 → inatural-minor cadence ×4
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×2
- Em7 Bm Dii7 → vi Bmiv7 → iminor plagal ×1
The move to watch is F#m7 → Bm, heard 4 times. From the Bm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii7 → 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 F#m7, land on F#, A, C# — 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 Em7, land on E, G, B — 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 first chord is Bm; the ear learns where home is within a second. The backbone is F#m7, Bm, Em7, F#m — iii7–vi–ii7–iii from the D side, v7–i–iv7–v from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m7 → Bm (iii7 → vi in D, v7 → i in Bm): natural-minor cadence — gentle, modal arrival. The final chord is F#m7; 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.
Oğuzhan Koç - Unutma Bari Beni 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: Oğuzhan KoçMusic: Oğuzhan KoçArrangement: Çağrı Telkıvıran
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