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)
Grup Gündoğarken - Sen Benim Şarkılarımsın - Chord
Key D major – B minor Chords Bm, F#7, Em, G, F#, B7 Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Em Bm F#7 Bm B7
Em Bm F#7 Bm
Bm F#7
Belki bir şarkının her sesinde
Bm
Belki bir sahil meyhanesinde
G F# Bm
Belki de içtiğim sigaranın dumanısın
Bm F#7
Bir yıldız gökte kayıp giderken
Bm
Islak bir yolda yalnız yürürken
G F# Bm
Bambaşka bir şeyi düşünürken aklımdasın
Em Bm F#7
Geçmis değil bugün gibi yaşıyorum hala seni
Bm B7
Sen hep benim yanımdasın
Em Bm F#7
Gündüzümde gecemdesin çalınmasın söylenmesin
Bm
Sen benim şarkılarımsın
Bm F#7
Sanki hiç bitmemiş hep var gibi
Bm
Bir sırrı herkesten saklar gibi
G F# Bm
Sessizce sokulup ağlar gibi yanımdasın
Bm F#7
Beni bir şeylerden aklar gibi
Bm
Koparmadan çiçek koklar gibi
G F# Bm
Hiç bozulmamış yasaklar gibi aklımdasın
Em Bm F#7
Geçmis değil bugün gibi yaşıyorum hala seni
Bm B7
Sen hep benim yanımdasın
Em Bm F#7
Gündüzümde gecemdesin çalınmasın söylenmesin
Bm
Sen benim şarkılarımsın
End of song Play again?
Grup Gündoğarken - Sen Benim Şarkılarımsın Tabs
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Harmony analysis
Grup Gündoğarken – Sen Benim Şarkılarımsın: key and chord analysis
The song opens on Em 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)
- #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 24 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 6× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 10× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 4× |
| IV | G | Subdominant — moves away from home | G · B · D | 4× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 24× |
| V7/ii | B7 | Secondary dominant V/ii — leads to Emsecondary dominant | B · D# · F# · A | 3× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 24× |
| V7/iv | B7 | Secondary dominant V/iv — leads to Emsecondary dominant | B · D# · F# · A | 3× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | 6× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 10× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 4× |
| VI | G | Submediant — warm colour | G · B · D | 4× |
| 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 51 times in total; 3 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#7 / F# is V7/vi, a secondary dominant heading for Bm. B7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×10
- Em Bm Dii → vi Bmiv → iminor plagal ×6
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×4
- B7 Em DV7/ii → iisecondary resolution BmV7/iv → iv ×3
The move to watch is F#7 → Bm, heard 10 times. From the Bm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi (secondary resolution: F#7 resolves a fourth up to Bm). 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 F#7, land on F#, A#, C# — 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.
- When F#7 comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
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
Starting on Em, the song gives away its key from the very first bar. The backbone is Bm, F#7, Em, G — vi–V7/vi–ii–IV from the D side, i–V7–iv–VI from the Bm side. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm (V7/vi → vi in D, V7 → i in Bm): harmonic-minor cadence — the major V resolves dramatically. It closes on Bm, letting the Bm side have the last word.
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.
Grup Gündoğarken - Sen Benim Şarkılarımsın 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: İlhan ŞeşenMusic: İlhan Şeşen
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