Mert Demir - Senden Nefret Ediyorum - Chord

Key D major – B minor Chords Gmaj7, F#m7 Easy key C (capo 2)

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Capo 0

Gmaj7  Gmaj7  F#m7  F#m7
x2

Gmaj7
Bugün biraz canım sıkkın
            F#m7
Sorma nedenini
       Gmaj7
Kapıyı çarptım, çıktım dışarı
                F#m7
Suçlamadım kendimi

  Gmaj7
Aklım karışık, sen'le barışıp
                      F#m7
Buralardan gitmek istedim
   Gmaj7
Anılar karışır, kalbim sıkışır
                         F#m7
Her şeyi söküp atmak istedim

Gmaj7
Senden nefret ediyorum
                   F#m7
Görmek istemiyorum asla
Gmaj7
N'olur beni yanlış anlama
                     F#m7
Kendimi kaptırıyorum fazla
Gmaj7
Senden nefret ediyorum
                   F#m7
Görmek istemiyorum asla, ah
Gmaj7
N'olur beni yanlış anlama
                     F#m7
Kendimi kaptırıyorum fazla, ah

  Gmaj7
Aklım karışık, sen'le barışıp
                      F#m7
Buralardan gitmek istedim
   Gmaj7
Anılar karışır, kalbim sıkışır
                         F#m7
Her şeyi söküp atmak istedim

Gmaj7
Senden nefret ediyorum
                   F#m7
Görmek istemiyorum asla
Gmaj7
N'olur beni yanlış anlama
                     F#m7
Kendimi kaptırıyorum fazla
Gmaj7
Senden nefret ediyorum
                   F#m7
Görmek istemiyorum asla, ah
Gmaj7
N'olur beni yanlış anlama
                     F#m7
Kendimi kaptırıyorum fazla, ah

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Harmony analysis

Mert Demir – Senden Nefret Ediyorum: key and chord analysis

The song opens on Gmaj7 and ends on F#m7. 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)

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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii	Em	Supertonic — prepares the dominant	E · G · B	—
iii7	F#m7	Mediant — a tonic-family shade	F# · A · C# · E	16×
III	F#	Chromatic colour chordoutside the key	F# · A# · C#	—
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	16×
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	—

Seen from B minor
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	—
iv	Em	Subdominant — moves away from home	E · G · B	—
v7	F#m7	Minor dominant — soft pull	F# · A · C# · E	16×
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#	16×
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). 2 different chords appear 32 times in total; 2 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 Gmaj7, land on G, B, D — 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.

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 Gmaj7; the ear learns where home is within a second. Gmaj7, F#m7 carry the song: IVmaj7–iii7 relative to D, VImaj7–v7 relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on F#m7, 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.