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)
Mehmet Alp - Obsesif Hisler - Chord
Key D major – B minor Chords Bm, F#7, A, Em, G Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm A Em F#7
Bm A
Her yaşam biter, her insan gider mi
Em F#7
Diye sordukça gördün cevabı
Bm A
Yorgunuz epeyce, sakindik tüm gece
Em F#7
Fırtına öncesi sessizlik belki de
G Bm F#7 G
Bu yüzden mi gittin, bişey sandım ben de
Bm F#7 G
Bu kez bekleyemem bu obsesif hislerle
Bm F#7 G
Bu yüzden mi gittin, doğruyu söyle
Bm F#7
Bu kez bekleyemem bu obsesif hislerle
Bm A Em G F#7
Bir an için yeryüzünde tek kaldım sanki
Bm A Em F#7
Henüz ilk raundda nakavt olmuş gibi hayaller şimdi
Bm
Belki de bir anlamı yok sadece yorgunuz belki
A
Zararsız ve gereksiz yalanların ruh hali gibi
Em
Sürekli hızlanan yağmur ve seyreden denizci gibi
F#7
Bekliyoruz sadece güneşin geri gelmesini
Bm
Depresyon çok moda, herkesin elinde Lustral'i
A
Tüm zamanların en mutsuz insanları bizdik sanki
Em
Dönmedi belki şans, belki zaman bizim değildi
F#7
Sevmedi belki kalp, belki atmıyor eskisi gibi
Bm
Kırıklarındı batan, hatırlatan eski günleri
A
Zaaflarındı kalan, çıkarttığında acı gerçekleri
Em
Umutlarındır belki, uyandıran ve durduran saati
F#7
Nefretindir belki burda tutan hala seni
End of song Play again?
Mehmet Alp - Obsesif Hisler Tabs
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Harmony analysis
Mehmet Alp – Obsesif Hisler: key and chord analysis
The song opens on Bm and ends on F#7. 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)
- #7 = A# (harmonic-minor leading tone from the V chord)
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, Bm is heard 12 times while D never appears and the major V chord points straight at Bm. 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 | 8× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 12× |
| IV | G | Subdominant — moves away from home | G · B · D | 5× |
| V | A | Dominant — strongest pull home | A · C# · E | 8× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 12× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 12× |
| 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 | 8× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 12× |
| VI | G | Submediant — warm colour | G · B · D | 5× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 8× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 45 times in total; 4 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F#7 is V7/vi, a secondary dominant heading for Bm.
Chord movement
- F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×7
- Em F#7 Dii → V7/vi Bmiv → V7iv → V ×7
- G Bm DIV → vi BmVI → iVI → i ×4
The move to watch is F#7 → Bm, heard 7 times. From the Bm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi (secondary resolution: F#7 resolves a fourth up to 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over F#7, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- When F#7 comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
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 first chord is Bm; the ear learns where home is within a second. The backbone is Bm, F#7, A, Em — vi–V7/vi–V–ii from the D side, i–V7–VII–iv from the Bm side. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm (V7/vi → vi in D, V7 → i in Bm): harmonic-minor cadence — the major V resolves dramatically. Ending on F#7, 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.
Mehmet Alp - Obsesif Hisler 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: Mehmet AlpMusic: Mehmet Alp
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