Yıldız Tilbe - Bir Benim Ol - Chord

Key D major – B minor Chords F#m7, Em7, G, A, Bm, D Easy key C (capo 2)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

F#m7  Em7  G  F#m7

F#m7
Sıkı tut kendini benim için
              Em7            F#m7
Çözülürüm seni ele verirsen eğer

En inatçı dileği yüreğimin
Em7             G     A
Beni sev bana dokun yeter

Bm      A       G    F#m7
Yar yüreğim yoluna perişan
Bm      D       Em7   F#m7
Yar yüreğim yoluna perişan

F#m7      Bm   A
Bir benim ol beni öp
    G
Bir bana sahiplen
Em7   F#m7    Em7         F#m7
Bir beni sev ikimiz bir beden
         A       Bm
Ben korkarım sen yoksan
A        G
Kendi gölgemden
Em7         F#m7
Sen de bana soyun
   Em7         D
Yaşamını bende tüket hey

F#m7  Em7  G  F#m7

F#m7
Her şeyimle teslimim sana ben
                Em7              F#m7
Kimsenin demesiyle senden vazgeçemem

Mutluluk denen o rüya şehire
Em7            G        A
Seninle vardım artık gitmem

Bm      A       G    F#m7
Yar yüreğim yoluna perişan
Bm      D       Em7   F#m7
Yar yüreğim yoluna perişan

F#m7      Bm   A
Bir benim ol beni öp
    G
Bir bana sahiplen
Em7   F#m7    Em7         F#m7
Bir beni sev ikimiz bir beden
         A       Bm
Ben korkarım sen yoksan
A        G
Kendi gölgemden
Em7         F#m7
Sen de bana soyun
   Em7         D
Yaşamını bende tüket hey

End of song Play again?

Yıldız Tilbe - Bir Benim Ol Tabs

NotesX

Harmony analysis

Yıldız Tilbe – Bir Benim Ol: key and chord analysis

The song opens on F#m7 and ends on D. 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: we can't honestly pick a side here — the song moves freely between D major and B minor because it comes to rest on D and Bm is heard 8 times against 4 for D. 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 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	4×
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	16×
iii7	F#m7	Mediant — a tonic-family shade	F# · A · C# · E	20×
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	10×
vi	Bm	Relative minor — the melancholy side	B · D · F#	8×
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#	8×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	4×
iv7	Em7	Subdominant — moves away from home	E · G · B · D	16×
v7	F#m7	Minor dominant — soft pull	F# · A · C# · E	20×
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	10×

Analysis

The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 68 times in total; 6 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 ×4
F#m7 Bm Diii7 → vi Bmv7 → inatural-minor cadence ×4
G A DIV → VIV → V BmVI → VIIVI → VII ×2

The move to watch is A → Bm, heard 4 times. From the D side it reads V → vi (deceptive cadence: expected D, lands on Bm); from the Bm side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 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

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 backbone is F#m7, Em7, G, A — iii7–ii7–IV–V from the D side, v7–iv7–VI–VII 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): deceptive cadence — expected D, lands on Bm. The final chord is D; 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.