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)
Tan Taşçı - Yok - Chord
Key D major – B minor Chords Bm7, F#m7, Em7, Gmaj7, A7 Easy key C (capo 2)
No ratings yet
or your user informations
Make it yours
Text size
Key: D | Bm
Capo: 0
Bm7
Bu sıralar hiç halim yok gülmeye
Em7
Güvenerek daha fazla vermeye
F#m7 Bm7 Gmaj7 A7 Bm7
Pişman oldum yüzüm yok geri dönmeye
Bm7
Sevindiğim o küçücük şeylerde
Em7
Kabullendim bu bambaşka yerlerde
F#m7 Bm7 Gmaj7 A7
Anladım ki senin kokun ellerde yoooooooooaaaok
Em7 Bm7
Salındım da durdum ağır ağır geldin rüyamda
F#m7
Bir gece yarısı kap karanlık dünyamda
Gmaj7 F#m7
Gel inadıma gel
Bm7 F#m7 Gmaj7 Em7
Yok, yok, yok senin gibisi yok
F#m7 Bm7 Gmaj7 A7 Bm7
Aldandım herkes yalan dolaaaaaaaaaaaaaaaaan
Em7
Zor göçdüm senmiş güzel olan
F#m7 Bm7
Nankörmüş, körmüş sana bakan
Bm7 Gmaj7 A7 Bm7
Nankörmüş, körmüş sana bakan
Bm7 Bm7 Em7 Em7 F#m7 F#m7 Bm7 Gmaj7 A7 Bm7
End of song Play again?
Tan Taşçı - Yok Tabs
NotesX
Harmony analysis
Tan Taşçı – Yok: key and chord analysis
The song opens on Bm7 and ends on Bm7. 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: to us the song feels closer to the B minor side because it both starts and finishes on Bm and Bm is heard 16 times while D never appears. 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 | — |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 7× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 9× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 7× |
| V7 | A7 | Dominant — strongest pull home | A · C# · E · G | 5× |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 16× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 16× |
| 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 | 7× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 9× |
| 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# | 7× |
| VII7 | A7 | Subtonic — steps back to the tonic | A · C# · E · G | 5× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 44 times in total; 5 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
- F#m7 Bm7 Diii7 → vi7 Bmv7 → i7natural-minor cadence ×6
- Gmaj7 A7 DIVmaj7 → V7IV → V BmVImaj7 → VII7VI → VII ×5
- A7 Bm7 DV7 → vi7deceptive cadence BmVII7 → i7Aeolian arrival ×4
- Em7 Bm7 Dii7 → vi7 Bmiv7 → i7minor plagal ×1
The move to watch is F#m7 → Bm7, heard 6 times. From the Bm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the D side it reads iii7 → vi7. 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- 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.
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 first chord is Bm7; the ear learns where home is within a second. Bm7, F#m7, Em7, Gmaj7 carry the song: vi7–iii7–ii7–IVmaj7 relative to D, i7–v7–iv7–VImaj7 relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m7 → Bm7 (iii7 → vi7 in D, v7 → i7 in Bm): natural-minor cadence — gentle, modal arrival. It closes on Bm7, 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.
Tan Taşçı - Yok 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Tan TaşçıMusic: Tan Taşçı
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.