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)
İlyas Yalçıntaş - Dünya Senin - Chord
Key D major – B minor Chords F#m7, Em7, Dmaj7, Gmaj7, Bm7, G, A Easy key C (capo 2)
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Key: D | Bm
Capo: 0
F#m7 Em7
Son yolculuk bu kaybolduğum yer soğuk
F#m7 Em7
Bir tek acı kaldıysa gözyaşı
G A
Nasıl bir sevgin varsa
G A F#m7
Bıraktın çöl topraklarda
Bm7 F#m7
Sen gerçeğim
Em7 Dmaj7
Yalansız söylediğim
Gmaj7 F#m7
Dünya senin
Em7 Dmaj7
Görmediğim herseyim
Bm7 F#m7
Bomboş evim
Em7 Dmaj7
Sarardı çöl çiçeğim
Gmaj7 F#m7
Dünya senin
Em7 Dmaj7
Görmediğim herseyim
Gmaj7 F#m7
Dünya senin
Em7 Dmaj7
Görmediğim herseyim
Bm7 F#m7 Em7 Dmaj7 Gmaj7 F#m7 Em7 Dmaj7
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İlyas Yalçıntaş - Dünya Senin Tabs
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Harmony analysis
İlyas Yalçıntaş – Dünya Senin: key and chord analysis
The song opens on F#m7 and ends on Dmaj7. 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 D major side because it comes to rest on D and D is heard 7 times against 3 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Dmaj7 | Tonic — home | D · F# · A · C# | 7× |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 9× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 10× |
| 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# | 4× |
| IV | G | Subdominant — moves away from home | G · B · D | 2× |
| V | A | Dominant — strongest pull home | A · C# · E | 2× |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 3× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 3× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| IIImaj7 | Dmaj7 | Relative major — the bright side | D · F# · A · C# | 7× |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 9× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 10× |
| 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# | 4× |
| VI | G | Submediant — warm colour | G · B · D | 2× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 2× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 37 times in total; 7 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 A DIV → VIV → V BmVI → VIIVI → VII ×2
- F#m7 Bm7 Diii7 → vi7 Bmv7 → i7natural-minor cadence ×1
The move to watch is G → A, heard 2 times. From the D side it reads IV → V (IV → V: the lift that builds tension before home); from the Bm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Dmaj7, land on D, F#, A — 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 F#m7 lays a solid floor for everything that follows. The chords that keep coming back are F#m7, Em7, Dmaj7, Gmaj7; read them as iii7–ii7–Imaj7–IVmaj7 in D or v7–iv7–IIImaj7–VImaj7 in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → A (IV → V in D, VI → VII in Bm): IV → V — the lift that builds tension before home. Ending on Dmaj7, 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.
İlyas Yalçıntaş - Dünya Senin 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: İlyas YalçıntaşMusic: İlyas YalçıntaşArrangement: Aytaç Kart
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