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)
Mert Demir - Yalanmış - Chord
Key D major – B minor Chords Bm7, Gmaj7 Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm7 Gmaj7 Bm7 Gmaj7
x2
Bm7 Gmaj7
Kolay mı sanıyorsun sevmek?
Bm7 Gmaj7
Kolay mı sanıyorsun yâr?
Bm7 Gmaj7
Kolay mı sanıyorsun sevmek?
Bm7 Gmaj7
Kolay mı sanıyorsun yâr?
Bm7
Gece çöktü üstüme
Gmaj7
Güneş hiç ısıtmıyor
Yaram derin biraz
Bm7
Merhem sürsem de geçmiyor
Bm7
Kuru dallarım düştü
Gmaj7
Fark eden hiç olmadı
Zaman gelip geçer
Bm7
Bende senden iz bıraktı
Bm7 Gmaj7
Yalanmış, yalanmış verdiğin sözler
Bm7 Gmaj7
İnanmış bu saf gönlüm
Bm7 Gmaj7
Yalanmış, yalanmış verdiğin sözler
Bm7 Gmaj7
İnanmış bu saf gönlüm, ay
Bm7 Gmaj7 Bm7 Gmaj7
x2
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Mert Demir - Yalanmış Tabs
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Harmony analysis
Mert Demir – Yalanmış: key and chord analysis
The song opens on Bm7 and ends on Gmaj7. 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 opens 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 | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| 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# | 14× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| 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 | — |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| 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# | 14× |
| 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 30 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
- Gmaj7 Bm7 DIVmaj7 → vi7 BmVImaj7 → i7VI → i ×13
The move to watch is Gmaj7 → Bm7, heard 13 times. From the Bm side it is VImaj7 → i7 (VI → i: falls a half step into home); from the D side it reads IVmaj7 → 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 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
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on Bm7, the song gives away its key from the very first bar. The backbone is Bm7, Gmaj7 — vi7–IVmaj7 from the D side, i7–VImaj7 from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gmaj7 → Bm7 (IVmaj7 → vi7 in D, VImaj7 → i7 in Bm): VI → i — falls a half step into home. It closes on Gmaj7, letting the D 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.
Mert Demir - Yalanmış 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: Mert DemirMusic: Mert DemirArrangement: Mert Demir
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