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)
Veysel Mutlu - Yana Yana - Chord
Key D major – B minor Chords A, Bm, G Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm Kararır gece gözlerim amman A Döndüm o yolları yana yana G Yalanın bini bir para amma A Geçmişe düş yine yana yana Bm Gecem kara, yalan para A Geçmişe düş yine yana yana Bm Döner başım, düşer dara A Hepsine küs yine yana yana Bm Hüzün, keder, sevinç ve dert A Geçmişe düş yine yana yana G Seven gider, bir gün biter A Hepsine küs yine yana yana Bm A G A Aaaaah göze gelmez inan Bm Kararır gece gözlerim amman A Döndüm o yolları yana yana G Yalanın bini bir para amma A Geçmişe düş yine yana yana Bm Duygulanıp bi gün bunu açacak A Anıları acıları onu sarıp yakacak G Hatırlatır beni sana bu gün bütün adımalr A Kalanlara bakıp göz yaşına hüzün katacak Bm Yanına kalmış yaptıkları onun A Yanına kalır acılar yanına G Hiç yarına planı yokmuş gibi A Yürür yanıma düşecek yanıma hiç acımam Bm Kararır gece gözlerim amman A Döndüm o yolları yana yana G Yalanın bini bir para amma A Geçmişe düş yine yana yana
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Veysel Mutlu - Yana Yana Tabs
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Harmony analysis
Veysel Mutlu – Yana Yana: key and chord analysis
The song opens on Bm and ends on A. 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 | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 7× |
| V | A | Dominant — strongest pull home | A · C# · E | 16× |
| 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 | — |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 7× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 16× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 3 different chords appear 32 times in total; 3 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
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×8
- G A DIV → VIV → V BmVI → VIIVI → VII ×7
The move to watch is A → Bm, heard 8 times. From the Bm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the D side it reads V → vi (deceptive cadence: expected D, lands on 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 A, land on A, C#, E — 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 G, land on G, B, D — 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
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. The backbone is A, Bm, G — V–vi–IV from the D side, VII–i–VI from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → Bm (V → vi in D, VII → i in Bm): Aeolian arrival — rises a whole tone into home. The final chord is A; 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.
Veysel Mutlu - Yana Yana 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: DecratMusic: Berk Kirtiş
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