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)
Sinan Akçıl - Yanımdadır - Chord
Key B major – G# minor Chords G#m, F#, Emaj7 Easy key G (capo 4)
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Key: B | Abm | G#m
Capo: 0
G#m
Yeni değil ölmüşüm evvelden
Geri gel yine, al beni benden
Seni düşünen bir yürek var çık gel
F#
Geri kalanını al geri git yeniden
Emaj7
Gördüm çünkü bilirim bir tek sensin beni eriten
Bizi bitiren şeyler var yeniden
G#m
Sensiz adam olmaz benden
Sabahı boşverip kapat gecenden
Hızlıca vurduk herşeyi duvara
Vurduğun aşksa
F#
Ne gelecek ah o elden
Emaj7
Yüzümü çevirip ağlıyorum ben utanıyorum senden
G#m
Seninle yaşanan herşey yanımdadır
Benim yanımdadır
Unutmadım ben hiç o gülüşünü
Gülünce yüzde gamze çöküşünü
Gözlerin zaten
F#
Bak yine hatırladım
Emaj7
Beni mahveder yeni biri varsa belki de yanındadır
Seninle yasanan herşey yanımdadır
Seninle yasanan hersey
G#m
Biraz huzur, biraz şarap
Biraz bitik ve de bayağı harap
Biraz ölüm ya da biraz yara
F#
Biraz uzak ol benden biraz daha bize çözüm ara
Emaj7
Aşk için herşey kader ve zamanlama
Düşünme sonunu boşver gitsin
G#m
Hey biraz dayan
Bize göre herkes büyük yalan
Ne terkeden benim ne rastlayan
Dağıtamaz kimse beni ama
F#
Sen gel sen et talan
Emaj7
Aşk için herşey kader ve zamanlama
G#m
Seninle yasanan herşey yanımdadır
End of song Play again?
Sinan Akçıl - Yanımdadır Tabs
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Harmony analysis
Sinan Akçıl – Yanımdadır: key and chord analysis
The song opens on G#m and ends on G#m. Its chords belong to both B major and G#m, so every chord below is read both ways.
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: to us the song feels closer to the G# minor side because it both starts and finishes on G#m and G#m is heard 6 times while B never appears. That is an interpretation, not a rule — the same chords are just as valid seen from B 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | — |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| V/vi | D# | Secondary dominant V/vi — leads to G#msecondary dominant | D# · G · A# | — |
| IVmaj7 | Emaj7 | Subdominant — moves away from home | E · G# · B · D# | 5× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 5× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 6× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 6× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | — |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | — |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VImaj7 | Emaj7 | Submediant — warm colour | E · G# · B · D# | 5× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 5× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 3 different chords appear 16 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
- Emaj7 G#m BIVmaj7 → vi G#mVImaj7 → iVI → i ×5
The move to watch is Emaj7 → G#m, heard 5 times. From the G#m side it is VImaj7 → i (VI → i: falls a half step into home); from the B side it reads IVmaj7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
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 G#m, land on G#, B, D# — 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 Emaj7, land on E, G#, B — 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
- 4 semitones down · capo 4 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening G#m lays a solid floor for everything that follows. The chords that keep coming back are G#m, F#, Emaj7; read them as vi–V–IVmaj7 in B or i–VII–VImaj7 in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Emaj7 → G#m (IVmaj7 → vi in B, VImaj7 → i in G#m): VI → i — falls a half step into home. The final chord is G#m; the ear comes to rest in G#m.
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.
Sinan Akçıl - Yanımdadır 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: Sinan AkçılMusic: Miro & Sinan AkçılArrangement: Efe Can, Sinan Akçıl, Bahattin Ekinci
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