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)
Gökhan Türkmen - Yalan - Chord
Key B major – G# minor Chords Emaj7, Bmaj7, F#, D#m7, G#m7, C#m7, C#m Easy key C
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Key: B | Abm | G#m
Capo: 0
Emaj7 Bmaj7 Emaj7 Bmaj7
Emaj7
Duvarlarda kaldı resmin
Bmaj7 F#
Gitti giden; talan
Emaj7
Sessizlikten vazgeçsen
Bmaj7 F#
Bilirim her sözün, yalan
Emaj7
Yalanlardan bıkanlardan
Bmaj7 F#
Sonsuz o eski masallardan
Emaj7
Bilirim dönemez kimse
Bmaj7 F#
O yollarda kalanlardan
Emaj7 F#
Olsun, günahım olsun
G#m7 Bmaj7
Varsın, benden vazgeçsin
Emaj7 D#m7
Görsün, düşmek nedir görsün
C#m7 D#m7
Bilsin, bende hala bitmedi
x2
Emaj7 F# G#m7 Bmaj7
la la la la la la la la
Emaj7 D#m7 C#m D#m7
la la la la la la la la
Emaj7
Yalanlardan susanlardan
D#m7 F#
Yoruldum o eski masallardan
Emaj7
Bilirsin dönemez kimse
D#m7 F#
Ben değil ki o yollardan
Emaj7 F#
Olsun, günahım olsun
G#m7 Bmaj7
Varsın, benden vazgeçsin
Emaj7 D#m7
Görsün, düşmek nedir görsün
C#m7 D#m7
Bilsin, bende hala bitmedi
x2
Emaj7 F# G#m7 Bmaj7
la la la la la la la la
Emaj7 D#m7 C#m D#m7
la la la la la la la la
End of song Play again?
Gökhan Türkmen - Yalan Tabs
NotesX
Harmony analysis
Gökhan Türkmen – Yalan: key and chord analysis
The song opens on Emaj7 and ends on D#m7. 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 B major side because B is heard 10 times against 4 for G#m. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| Imaj7 | Bmaj7 | Tonic — home | B · D# · F# · A# | 10× |
| ii7 | C#m7 | Supertonic — prepares the dominant | C# · E · G# · B | 2× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | 2× |
| iii7 | D#m7 | Mediant — a tonic-family shade | D# · F# · A# · C# | 10× |
| 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# | 16× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 10× |
| vi7 | G#m7 | Relative minor — the melancholy side | G# · B · D# · F# | 4× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | G#m7 | Tonic — home | G# · B · D# · F# | 4× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| IIImaj7 | Bmaj7 | Relative major — the bright side | B · D# · F# · A# | 10× |
| iv7 | C#m7 | Subdominant — moves away from home | C# · E · G# · B | 2× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | 2× |
| v7 | D#m7 | Minor dominant — soft pull | D# · F# · A# · C# | 10× |
| 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# | 16× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 10× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 7 different chords appear 54 times in total; 7 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 Bmaj7 BIVmaj7 → Imaj7plagal cadence G#mVImaj7 → IIImaj7 ×6
- F# G#m7 BV → vi7deceptive cadence G#mVII → i7Aeolian arrival ×4
- Emaj7 F# BIVmaj7 → VIV → V G#mVImaj7 → VIIVI → VII ×4
The move to watch is Emaj7 → Bmaj7, heard 6 times. From the B side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the G#m side it is VImaj7 → IIImaj7. 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 Emaj7, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over Bmaj7, 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.
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
- 1 semitone up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on Emaj7, the song gives away its key from the very first bar. Emaj7, Bmaj7, F#, D#m7 carry the song: IVmaj7–Imaj7–V–iii7 relative to B, VImaj7–IIImaj7–VII–v7 relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Emaj7 → Bmaj7 (IVmaj7 → Imaj7 in B, VImaj7 → IIImaj7 in G#m): plagal cadence — the soft 'amen' ending. Ending on D#m7, the song seals B 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.
Gökhan Türkmen - Yalan 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: Ozan TurgutMusic: Gökhan TürkmenArrangement: Alper Anık
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