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)
Bahadır Tatlıöz - Mahşer - Chord
Key D major – B minor Chords Bm, Em, C#m7b5, F#7, F#, Gmaj7, D, Em7 … Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm Em F#
Mahşer yeri yaralı kalbim
C#m7b5 F#7 Bm D
Ezer geçer beni sensizlik
Gmaj7 Em
Yıllar üstüme yığılır sanki
F# Em D C#m7b5 F# G A
Keşke dur gitme desen
Bm A Gmaj7 F#m Em7 F#m7 G
F#m Em
Takıldı gözlerim duvardaki saate
C#m7b5 Bm F#m
Yelkovan haince ilerliyor
F#m Em
Geçen her saniye ömrümden gidiyor
C#m7b5 Bm A
Ayrılık zamanı yaklaşıyor
Gmaj7
Kalbim burada kal diyor
Em7 F#7
Gururum durma git
C#m7b5 F#7 Bm Dmaj7
Söküp at içinden ardına bakma git
Gmaj7
Söylemek dile kolay,
Em7 F#7 Bm
Yapmaya geldi mi, çok zor bir karar bu
Bm Em F#
Mahşer yeri yaralı kalbim
C#m7b5 F#7 Bm D
Ezer geçer beni sensizlik
Gmaj7 Em
Yıllar üstüme yığılır sanki
F# Em D C#m7b5 F# G A
Keşke dur gitme desen
Gmaj7 Em7 F#7
Sadece bir aşk değil bir hayat bitiyor
C#m7b5 F#7 Bm Dmaj7
İnan şu an gözümden ne anılar geçiyor
Gmaj7 Em7 F#7
Benim dilim varmıyor bari sen söyle,
Bm
Bitti de bitsin
Bm Em F#
Diyebilsen gidemem kalırım belki
C#m7b5 F# Bm D
Yakarım bu ömrü iste yeter ki
Gmaj7 Em
Ama sen aşkı çabuk tuketmişsin
F#7 Em D C#m7b5 F#7
Yüz yıl kal sam ne fark eder
Bm
Vazgeçmişsin
End of song Play again?
Bahadır Tatlıöz - Mahşer Tabs
NotesX
Harmony analysis
Bahadır Tatlıöz – Mahşer: key and chord analysis
The song opens on Bm and ends on Bm. 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)
- #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 it both starts and finishes on Bm, Bm is heard 14 times against 8 for D and 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | 6× |
| Imaj7 | Dmaj7 | Tonic — home | D · F# · A · C# | 2× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 11× |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 5× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 4× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 1× |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 10× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 8× |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 8× |
| IV | G | Subdominant — moves away from home | G · B · D | 3× |
| V | A | Dominant — strongest pull home | A · C# · E | 4× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 14× |
| viiø7 | C#m7b5 | Leading-tone chord — tension | C# · E · G · B | 10× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 14× |
| iiø7 | C#m7b5 | Supertonic — prepares the dominant | C# · E · G · B | 10× |
| III | D | Relative major — the bright side | D · F# · A | 6× |
| IIImaj7 | Dmaj7 | Relative major — the bright side | D · F# · A · C# | 2× |
| iv | Em | Subdominant — moves away from home | E · G · B | 11× |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 5× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 4× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 1× |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 10× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 8× |
| VImaj7 | Gmaj7 | Submediant — warm colour | G · B · D · F# | 8× |
| VI | G | Submediant — warm colour | G · B · D | 3× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 4× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 13 different chords appear 86 times in total; 11 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; seen from D, the same F#7 / F# is V7/vi, a secondary dominant heading for Bm.
Chord movement
- F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×7
- Em F# Dii → V/vi Bmiv → Viv → V ×5
- C#m7b5 F#7 Dviiø7 → V7/vi Bmiiø7 → V7ii° → V ×5
- Em7 F#7 Dii7 → V7/vi Bmiv7 → V7iv → V ×4
- C#m7b5 F# Dviiø7 → V/vi Bmiiø7 → Vii° → V ×3
- G A DIV → VIV → V BmVI → VIIVI → VII ×2
The move to watch is F#7 → Bm, heard 7 times. From the Bm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi (secondary resolution: F#7 resolves a fourth up to Bm). 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 Bm, land on B, D, F# — 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 C#m7b5, land on C#, E, G — 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Bm; the ear learns where home is within a second. The chords that keep coming back are Bm, Em, C#m7b5, F#7; read them as vi–ii–viiø7–V7/vi in D or i–iv–iiø7–V7 in Bm. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm (V7/vi → vi in D, V7 → i in Bm): harmonic-minor cadence — the major V resolves dramatically. Ending on Bm, the song seals Bm 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.
Bahadır Tatlıöz - Mahşer 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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