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)
Soner Sarıkabadayı - Mevzu Derin - Chord
Key D major – B minor Chords F#m7, Em7, Gmaj7 Easy key C (capo 2)
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Key: D | Bm
Capo: 0
F#m7
Ben sendeyim
Em7
Olsana sen benim her şeyim
F#m7
Bir nefesim ensendeyim
Em7
Bakma dışarı ben içerdeyim
F#m7
Bir yanım al diyor, bir yanım sal
Gmaj7
Duruyorum aynı yerde yürüyorken de
F#m7
Sebeplerinin bir çoğu masal
Em7
Bitebiliyor aşk bazen sürüyorken de
Gmaj7
Bul demedim sana gör diyorum
F#m7
Gönlümü almaya mı meyilin
Gmaj7
Yoksa boşu boşuna mı büyüyorum
F#m7
Gerçi mevzu derin
Gmaj7
Sorunum sana aşırı eğilim
F#m7
Ben sendeyim
Em7
Olsana sen benim her şeyim
F#m7
Bir nefesim ensendeyim
Em7
Bakma dışarı ben içerdeyim
Gmaj7
Bul demedim sana gör diyorum
F#m7
Gönlümü almaya mı meyilin
Gmaj7
Yoksa boşu boşuna mı büyüyorum
F#m7
Gerçi mevzu derin
Em7
Sorunum sana aşırı eğilim
End of song Play again?
Soner Sarıkabadayı - Mevzu Derin Tabs
NotesX
Harmony analysis
Soner Sarıkabadayı – Mevzu Derin: key and chord analysis
The song opens on F#m7 and ends on Em7. 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)
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. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 6× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 10× |
| III | F# | Chromatic colour chordoutside the key | F# · A# · C# | — |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 6× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | — |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | — |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 6× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 10× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VImaj7 | Gmaj7 | Submediant — warm colour | G · B · D · F# | 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). 3 different chords appear 22 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Gmaj7, 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
Starting on F#m7, the song gives away its key from the very first bar. F#m7, Em7, Gmaj7 carry the song: iii7–ii7–IVmaj7 relative to D, v7–iv7–VImaj7 relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Em7; 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.
Soner Sarıkabadayı - Mevzu Derin 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: Soner SarıkabadayıMusic: Soner SarıkabadayıArrangement: Efe Can
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