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)
Levent Yüksel - Medcezir - Chord
Key D major – B minor Chords D, Em, A, F#m, G, Gm, Bm Easy key C (capo 2)
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Key: D | Bm
Capo: 0
G F#m Gm D
Gm D Em A D
Bm F#m
Dökülür yedi verenler teninden rengarenk
G Em A
Açarsın mevsimli mevsimsiz birtanem
Bm F#m
Değişir kokun ısınır kanın beni yakarsın
Em D A
Vazgeçilir gibi değil bu medcezirler
D Em
Fırtınam felaketim hasretim
A D
Yetmiyor sevişmeler yetmiyor
D Em
Şiddetin ne hoş ne güzel şefkatin
A D
Sevdikçe sevesim geliyor
G
Ölene kadar peşindeyim bırakmam
G F#m Gm D
Gm D Em A D
Bm F#m
Tutuşur geceler yanar geceler söner
G Em A
Bedenim alt üst sarhoş başım döner
Bm F#m
Karışır tenime karışır terinin tuzu birtanem
Em D A
Vazgeçilir gibi değil bu medcezirler
End of song Play again?
Levent Yüksel - Medcezir Tabs
NotesX
Harmony analysis
Levent Yüksel – Medcezir: key and chord analysis
The song opens on G and ends on A. 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 D major side because D is heard 12 times against 4 for Bm. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.
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 | 12× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 8× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 6× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 5× |
| iv | Gm | Minor iv — borrowed from the parallel minorborrowed chord | G · Bb · D | 4× |
| V | A | Dominant — strongest pull home | A · C# · E | 8× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 4× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 4× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 12× |
| iv | Em | Subdominant — moves away from home | E · G · B | 8× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 6× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 5× |
| vi | Gm | Chromatic colour chordoutside the key | G · Bb · D | 4× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 8× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 47 times in total; 6 of them sit naturally inside the shared scale. Gm is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Em A Dii → Vii → V Bmiv → VII ×6
- A D DV → Iauthentic cadence BmVII → III ×5
- Gm D Div → Iminor plagal Bmvi → III ×4
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×2
The move to watch is Em → A, heard 6 times. From the D side it reads ii → V (ii → V: the classic preparation of the dominant); from the Bm side it is iv → VII. 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- On Gm, follow the chord's notes (G · Bb · D) rather than the key's scale — it's a borrowed colour.
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
Starting on G, the song gives away its key from the very first bar. The chords that keep coming back are D, Em, A, F#m; read them as I–ii–V–iii in D or III–iv–VII–v in Bm. Gm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Em → A (ii → V in D, iv → VII in Bm): ii → V — the classic preparation of the dominant. The final chord is A; the ear comes to rest in D.
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.
Levent Yüksel - Medcezir 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: Sezen AksuMusic: Levent YükselArrangement: Levent Yüksel - Uzay Heparı
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