Oğuzhan Koç - Utan - Chord

Key D major – B minor Chords F#m7, Em7, Bm7, Gmaj7 Easy key C (capo 2)

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Capo 0

Bm7  F#m7  Bm7  F#m7

Bm7
Halimiz ne görüyor musun
                       Em7
Vaktin bile yok konuşmaya
                         F#m7
Sen de bir ses duyuyor musun
        Em7        F#m7      Bm7
Bu kalbimin kırılmasıydı galiba

Bm7
Hani koymazdın gözümde yaş
                      Em7
Verdiğin sözü tutuyor musun
                        F#m7
Koptuk işte bak yavaş yavaş
      Em7       F#m7      Bm7
Sen de eski bizi öLüyor musun

Bm7          Gmaj7
Dünlerden, bugünlerden
F#m7 
 Bırakıp gittin gönüllerden
Em7        
 Koparıp verdiğin o güllerden
 F#m7       Em7         F#m7
Utan biraz utan kızarsın o yüzün

Gmaj7     Em7
Hislerden, his edenden
F#m7   
 Gözlerine dalıp gidenlerden
Em7
 Sözlerine kanıp gülenlerden
 F#m7       Em7         F#m7
Utan biraz utan kızarsın o yüzün
Em7                      Bm7
Bu kalp görmedi hiç böyle hüzün

End of song Play again?

Oğuzhan Koç - Utan Tabs

NotesX

Harmony analysis

Oğuzhan Koç – Utan: key and chord analysis

The song opens on Bm7 and ends on Bm7. 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 B minor side because it both starts and finishes on Bm and Bm is heard 8 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	10×
iii7	F#m7	Mediant — a tonic-family shade	F# · A · C# · E	12×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	2×
V	A	Dominant — strongest pull home	A · C# · E	—
vi7	Bm7	Relative minor — the melancholy side	B · D · F# · A	8×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i7	Bm7	Tonic — home	B · D · F# · A	8×
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	10×
v7	F#m7	Minor dominant — soft pull	F# · A · C# · E	12×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
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). 4 different chords appear 32 times in total; 4 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 Bm7 Diii7 → vi7 Bmv7 → i7natural-minor cadence ×4
Em7 Bm7 Dii7 → vi7 Bmiv7 → i7minor plagal ×1

The move to watch is F#m7 → Bm7, heard 4 times. From the Bm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the D side it reads iii7 → vi7. 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — 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 Bm7; the ear learns where home is within a second. F#m7, Em7, Bm7, Gmaj7 carry the song: iii7–ii7–vi7–IVmaj7 relative to D, v7–iv7–i7–VImaj7 relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m7 → Bm7 (iii7 → vi7 in D, v7 → i7 in Bm): natural-minor cadence — gentle, modal arrival. The final chord is Bm7; 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.