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)
Yüksek Sadakat - Bir - Chord
Key D major – B minor Chords Bm, G, D, A, F, E, Bb, Dm … Difficulty already in its easiest key
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Key: D | Bm
Capo: 0
Bm D A G Bm Hep o aynı hikaye D Bir adam ve bir kadın Bm Bak kalmışım biçare D Kaç gündür yok ki tadım Em D Kat ettiğim yollar boş mesafeler belirsiz A Mazim geçiyor önümden yürürken adım adım G Bm Uğradığım hiç bir handa aradığım derman yok G E Buraya nasıl geldim hangi yollardan geçtim G Bm Han bomboş hancı sarhoş derdimi dinleyen yok G E Bb Buraya nasıl geldim beni nasıl tükettin F Bir gün ben gidince A Bir tek sen kalınca Dm Bb C# Sus ve beni hatırla F A Dm Geçtiğin bu yollarda kaldığım tüm hanlarda dur C# D# F Gönlüne hüzün çökünce Bm D A G Bm Peşimdeki seraplarda D Bir varsın bir de yoksun Bm D Başta her şey sendin şimdi azdan biraz çoksun Em D Sancılarım yok olup yaram kabuk bağlarken A Dünya büyüyor önümde hayalin küçülürken G Bm Uğradığım hiç bir handa aradığım derman yok G E Buraya nasıl geldim hangi yollardan geçtim G Bm Han bomboş hancı sarhoş derdimi dinleyen yok G E Bb Buraya nasıl geldim beni nasıl tükettin F Bir gün ben gidince A Bir tek sen kalınca Dm Bb C# Sus ve beni hatırla F A Dm Geçtiğin bu yollarda kaldığım tüm hanlarda dur C# D# F Gönlüne hüzün çökünce
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Yüksek Sadakat - Bir Tabs
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Harmony analysis
Yüksek Sadakat – Bir: key and chord analysis
The song opens on Bm and ends on F. 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 10 times against 8 for D. 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 | 8× |
| i | Dm | Chromatic colour chordoutside the key | D · F · A | 4× |
| bII | D# | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | D# · G · A# | 2× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 2× |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 4× |
| bIII | F | Borrowed from the parallel minorborrowed chord | F · A · C | 6× |
| 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# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 10× |
| V | A | Dominant — strongest pull home | A · C# · E | 8× |
| bVI | Bb | Borrowed from the parallel minorborrowed chord | Bb · D · F | 4× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 10× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| VII | C# | Chromatic colour chordoutside the key | C# · E# · G# | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 10× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| II | C# | Chromatic colour chordoutside the key | C# · E# · G# | 4× |
| III | D | Relative major — the bright side | D · F# · A | 8× |
| iii | Dm | Chromatic colour chordoutside the key | D · F · A | 4× |
| #III | D# | Chromatic colour chordoutside the key | D# · G · A# | 2× |
| iv | Em | Subdominant — moves away from home | E · G · B | 2× |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 4× |
| #IV | F | Chromatic colour chordoutside the key | F · A · C | 6× |
| 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# | — |
| VI | G | Submediant — warm colour | G · B · D | 10× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 8× |
| #VII | Bb | Chromatic colour chordoutside the key | Bb · D · F | 4× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 11 different chords appear 62 times in total; 5 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key. F, Bb, D# are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- G Bm DIV → vi BmVI → iVI → i ×6
The move to watch is G → Bm, heard 6 times. From the Bm side it is VI → i (VI → i: falls a half step into home); from the D side it reads IV → 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- On F, follow the chord's notes (F · A · C) 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Bm, the song gives away its key from the very first bar. The chords that keep coming back are Bm, G, D, A; read them as vi–IV–I–V in D or i–VI–III–VII in Bm. E adds a moment of surprise: secondary dominant V/V — leads to A. Keep an ear on G → Bm (IV → vi in D, VI → i in Bm): VI → i — falls a half step into home. Ending on F, 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.
Yüksek Sadakat - Bir 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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