Yalın - Sesinde Aşk Var - Chord

Key D major – B minor Chords Bm, F#, Em, F#m, G, A, D Easy key C (capo 2)

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Capo 0

                Bm
Aldım başıma belayı
                   F#m
İlk günden belli biraz delisin
              G
Biraz kendine has
            F#
Biraz maceracı

                Bm
Aldım başıma belayı
                    F#m
Yüzün ellerin can yakıyor gamzelerin
                 G
Dert oluyor gidişin
                     F#
Dert oluyor hemen dönmeyişin

Bm
Sesinde aşk var bir ben duyuyorum
F#m
Kalbimde taşla yapamam biliyorum
Em                        F#
Sabaha olunca çık gel bekliyorum

               Em
Çık gel bekliyorum
              Bm
İlk sofra kurulunca
               Em
Koş gel bekliyorum
A             D
Son şarkı duyulunca
G             Em
Durmam söylüyorum
F#
Sesinde aşk var
              Bm
Bir ben duyuyorum

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Yalın - Sesinde Aşk Var Tabs

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Harmony analysis

Yalın – Sesinde Aşk Var: 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.

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 it both starts and finishes on Bm, Bm is heard 5 times against 1 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	1×
ii	Em	Supertonic — prepares the dominant	E · G · B	4×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	3×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	4×
IV	G	Subdominant — moves away from home	G · B · D	3×
V	A	Dominant — strongest pull home	A · C# · E	1×
vi	Bm	Relative minor — the melancholy side	B · D · F#	5×
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#	5×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	1×
iv	Em	Subdominant — moves away from home	E · G · B	4×
v	F#m	Minor dominant — soft pull	F# · A · C#	3×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	4×
VI	G	Submediant — warm colour	G · B · D	3×
VII	A	Subtonic — steps back to the tonic	A · C# · E	1×

Analysis

The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 21 times in total; 6 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# is V/vi, a secondary dominant heading for Bm.

Chord movement

F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×3
Em F# Dii → V/vi Bmiv → Viv → V ×2
A D DV → Iauthentic cadence BmVII → III ×1
Em Bm Dii → vi Bmiv → iminor plagal ×1
Em A Dii → Vii → V Bmiv → VII ×1

The move to watch is F# → Bm, heard 3 times. From the Bm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V/vi → vi. 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 F#, land on F#, A#, C# — 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.
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 opening Bm lays a solid floor for everything that follows. The backbone is Bm, F#, Em, F#m — vi–V/vi–ii–iii from the D side, i–V–iv–v from the Bm side. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F# → Bm (V/vi → vi in D, V → i in Bm): harmonic-minor cadence — the major V resolves dramatically. It closes on Bm, letting the Bm 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.