Batuhan Kordel - Batan Gemi - Chord

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

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Capo 0

Bm  Bm  F#  F#

Bm
Viskim gibi yakar, aşkın içimi
                                F#
Hiç unutur muyum nedensiz gidişini

Uzun zamandır, takvime bakmadım
                G       F#           Bm
Yorgunluktan başka kalmadı hiçbir hissim

Bm
Bittim tükendim, biraz kilo verdim
                                       F#
Herkesi sildim kalmadı senden başka derdim

Birkaç ay dayan, unutmak çok kolay
           G       F#       Bm
Hep bile bile yalanlar söyledim

Bm
Sen, saçlarınla mevsimi değiştiren
                         G
Gülüşünle geceyi gündüz eden

Tek bi sözünle rüzgarlar estiren
                              Bm
Bir bakışınla fırtınalar dindiren

Bm                                D
Ben, saçlarına aldanıp hırkasız gezen
                         F#
Gülüşünle uykusuz bu geceler

Ağzını her açışında devrilen
                             Bm
Batan gemiden göz göze gelemeyen

Bm  Bm  D  D  F#  F#  Bm

Bm
Geçmiş gibi bakan, yaşlı gözlerin
                                 F#
Ben daha yarını kafamda düşleyemedim

Nasıl yaparsın, nasıl bırakırsın
              G       F#        Bm
Bu kadar sevmeyi inan ben istemedim

Bm
Güzel günlerin yalandan gülüşleri
                                F#
Duyamam kimseyi umursamam sohbetleri

Bu koca şehrin kaldırımları
              G       F#        Bm
Çıkmaz sokakları beni hiç istemedi

Bm
Sen, saçlarınla mevsimi değiştiren
                         G
Gülüşünle geceyi gündüz eden

Tek bi sözünle rüzgarlar estiren
                              Bm
Bir bakışınla fırtınalar dindiren

Bm                                D
Ben, saçlarına aldanıp hırkasız gezen
                         F#
Gülüşünle uykusuz bu geceler

Ağzını her açışında devrilen
                             Bm
Batan gemiden göz göze gelemeyen

End of song Play again?

Batuhan Kordel - Batan Gemi Tabs

NotesX

Harmony analysis

Batuhan Kordel – Batan Gemi: key and chord analysis

The song opens on Bm and ends on Bm. 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)
#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 both starts and finishes on Bm, Bm is heard 21 times against 4 for D 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	4×
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#	14×
IV	G	Subdominant — moves away from home	G · B · D	6×
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	21×
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#	21×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	4×
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#	14×
VI	G	Submediant — warm colour	G · B · D	6×
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). 4 different chords appear 45 times in total; 3 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# is V/vi, a secondary dominant heading for Bm.

Chord movement

F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×8
G Bm DIV → vi BmVI → iVI → i ×2

The move to watch is F# → Bm, heard 8 times. From the Bm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V/vi → 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 F#, land on F#, A#, C# — 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.
When F# 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

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on Bm, the song gives away its key from the very first bar. The chords that keep coming back are Bm, F#, G, D; read them as vi–V/vi–IV–I in D or i–V–VI–III in Bm. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F# → Bm (V/vi → vi in D, V → i in Bm): harmonic-minor cadence — the major V resolves dramatically. It closes on Bm, letting the Bm side have the last word.

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.