Eypio - Isırgan - Chord

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

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Capo 0

F#  Gmaj7  F#  Gmaj7

   F#                       Gmaj7
Bu dünya rüya gibi olacaktı güya
    F#                       Gmaj7
Bir anda bi’ çocuk geldi bin sırla
       F#                       Gmaj7
Anadan üryan, saplandı ciğere kaburgam
      F#                       Gmaj7
Ondan ummam, dersin kader de bi savurgan

   F#
Ne surlar yıkıldı
                    Gmaj7
Bahsetme bana sen kusurdan
 F#  
Usuldan yaklaşayım
                      Gmaj7
Dedim ben yapamadım gururdan
    F#                        Gmaj7
Bi’ yorgan, çekim üstüme zor ısınmam
   F#                       Gmaj7
Bu güller dikensiz ama hep ısırgan

F#  Gmaj7  F#  Gmaj7

  F#                               Gmaj7
Kızım var, yaptığım kaleler hepmiş kumdan
 F#                        Gmaj7
Oyunlar, oynamadık belli suçum var
  F#                          Gmaj7
Yıkıldım,  kaldırma beni ne lüzum var?
 F#                        Gmaj7
Ölem ben desem ölemem bi kızım var

   F#
Ne surlar yıkıldı
                    Gmaj7
Bahsetme bana sen kusurdan
 F#  
Usuldan yaklaşayım
                      Gmaj7
Dedim ben yapamadım gururdan
    F#                        Gmaj7
Bi’ yorgan, çekim üstüme zor ısınmam
   F#                       Gmaj7
Bu güller dikensiz ama hep ısırgan

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Eypio - Isırgan Tabs

NotesX

Harmony analysis

Eypio – Isırgan: key and chord analysis

The song opens on F# and ends on Gmaj7. 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)
#7 = A# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the B minor side because the major V chord points straight at Bm. 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.

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	—
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
III	F#	Chromatic colour chordoutside the key	F# · A# · C#	20×
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	20×
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	—
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#	20×
VImaj7	Gmaj7	Submediant — warm colour	G · B · D · F#	20×
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 40 times in total; 1 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull.

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#, land on F#, A#, C# — 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.
When F# comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.

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
1 semitone up

The song's harmonic story

The opening F# lays a solid floor for everything that follows. F#, Gmaj7 carry the song: III–IVmaj7 relative to D, V–VImaj7 relative to Bm. F# is the interesting twist: in D it is a chromatic chord (III), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Ending on Gmaj7, 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.