Sancak - Yokluğuna - Chord

Key D major – B minor Chords Bm, G Easy key G (capo 7)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Bm  G  Bm  G

     Bm                                 G
Alışırım sandım yokluğuna, elime yüzüme bulaştı

Neler neler geldi başıma geçer sandım
Bm                                    G
Nerelerde aradım bilsen unuttuğum o kokunu

Kimler kimler sardı yaramı sen sandım

Bm
 Ne istedin benden, çıkamıyorum evden
G
 Her gece ölümlerden dönüyorum
Bm
 Son isteğim senden, beni kaldır yerden
G
 İlk defa kendimden korkuyorum

Bm
 Yokluğuna yürüdüm ve uzaktan mezarıma baktım
G
 Yokluğuna dayanabilirim derken kendimi yaktım
Bm
 Yokluğuna takılıp yürüdüğün o sokakları bastım
G
 Yokluğuna sarılıp bu gece sana yaralarımı açtım

Bm
 Üzülme yoksun diye yanımda, seni sensiz sevsem de olur
G
 Çekemediğin günahlarını omuzlarıma koysan da olur
Bm
 Üzülme yoksun diye ama ben bir gün iyileşirim diye korkuyorum
G
 Sarma yaralarımı yeter ki gel razıyım yine kanatsan da olur

End of song Play again?

Sancak - Yokluğuna Tabs

NotesX

Harmony analysis

Sancak – Yokluğuna: key and chord analysis

The song opens on Bm and ends on G. 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 opens on Bm and Bm is heard 10 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	—
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	10×
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	10×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	10×
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	10×
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). 2 different chords appear 20 times in total; 2 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 Bm DIV → vi BmVI → iVI → i ×9

The move to watch is G → Bm, heard 9 times. From the Bm side it is VI → i (VI → i: falls a half step into home); from the D side it reads IV → vi. 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 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

The song's harmonic story

The first chord is Bm; the ear learns where home is within a second. Bm, G carry the song: vi–IV relative to D, i–VI relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Bm (IV → vi in D, VI → i in Bm): VI → i — falls a half step into home. The final chord is G; 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.