Yasir Miy - Yorma (Çağan Şengül) - Chord

Key B major – G# minor Chords D#m, E, Dbm Easy key C

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Capo 0

D#m  E  D#m  E  D#m  E  D#m  E

  D#m  E              D#m
Hani o  buruk eski bi şeyler
  E          D#m       Dbm
Yüzündeki rüyaların içindedir
  E        D#m       Dbm
İçindeki acıların nedenidir

         E
Ama beni yorma
             D#m
Yorgun eksik şeyler
           Dbm
Gözlerinde gibiler
              D#m
Solgun tek cümleler gibi

     E
Beni yorma
                D#m
Solgun bir kalp bekler
          Dbm
Arkasında yeniden

Kendimi buldum
D#m
Yorma

       E                    D#m
Sen giderken kendine düşmez gibi
              Dbm
Yalnız kaldık iyi mi
            D#m
Yalnız o cümleler

End of song Play again?

Yasir Miy - Yorma (Çağan Şengül) Tabs

NotesX

Harmony analysis

Yasir Miy – Yorma (Çağan Şengül): key and chord analysis

The song opens on D#m and ends on D#m. Its chords belong to both B major and G#m, so every chord below is read both ways.

Major view

B major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A# (leading tone, pulls home)
4 = E (the note that leans on the 3rd)

Minor view

G# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = E (the minor's melancholy)
b7 = F# (natural-minor colour)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between B major and G# minor. Try reading the chords both ways and see which feels more like home to you.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to B or to G#m; 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 B major
Degree	Chord	Role	Notes	In song
I	B	Tonic — home	B · D# · F#	—
ii	Dbm	Supertonic — prepares the dominant	Db · Fb · Ab	5×
iii	D#m	Mediant — a tonic-family shade	D# · F# · A#	14×
III	D#	Chromatic colour chordoutside the key	D# · G · A#	—
IV	E	Subdominant — moves away from home	E · G# · B	10×
V	F#	Dominant — strongest pull home	F# · A# · C#	—
vi	G#m	Relative minor — the melancholy side	G# · B · D#	—
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	G#m	Tonic — home	G# · B · D#	—
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	—
iv	Dbm	Subdominant — moves away from home	Db · Fb · Ab	5×
v	D#m	Minor dominant — soft pull	D# · F# · A#	14×
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	—
VI	E	Submediant — warm colour	E · G# · B	10×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	—

Analysis

The key pair is B major and its relative G# minor (5 sharps). 3 different chords appear 29 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

Improvisation tips

B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
Over D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over Dbm, land on Db, Fb, Ab — 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 B major shapes

Capo 2 + A shapes
Capo 4 + G shapes
Capo 7 + E shapes

With G# minor shapes

Capo 4 + Em shapes
Capo 6 + Dm shapes

Easiest keys on guitar

1 semitone up
3 semitones up

The song's harmonic story

The first chord is D#m; the ear learns where home is within a second. D#m, E, Dbm carry the song: iii–IV–ii relative to B, v–VI–iv relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on D#m, the song seals B 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.