Kargo - Bana Yalan Söylediler - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Bm      G         F#
Bir aleme indim yalnız
Bm        G           F#
Yerde toprak, gökte yıldız
G                    F#
Bir yan susuz bir yan deniz

Bm      G           F#
İki el, bir baş verdiler
Bm           G         F#
Bir çift göz ağlar da güler
           A     G     F#
Dört bir yanda benim gibiler
G                 F#
Doğru söz içinmiş diller
G                 F#
İşte kalbin sev dediler

Em
Bana yalan söylediler
Bm
Bana yalan söylediler
F#               Bm
Kaderden bahsetmediler

                      F#
Varsın böyle geçsin ömrüm
                          Bm
Neşeyle dolsun bari her günüm

Em
Hani benim sevdiklerim
Bm
Hani gönül verdiklerim
F#                   Bm
Hasret gider, ben giderim

End of song Play again?

Kargo - Bana Yalan Söylediler Tabs

NotesX

Harmony analysis

Kargo – Bana Yalan Söylediler: 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 9 times while D never appears 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	—
ii	Em	Supertonic — prepares the dominant	E · G · B	2×
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#	11×
IV	G	Subdominant — moves away from home	G · B · D	8×
V	A	Dominant — strongest pull home	A · C# · E	1×
vi	Bm	Relative minor — the melancholy side	B · D · F#	9×
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#	9×
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	2×
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#	11×
VI	G	Submediant — warm colour	G · B · D	8×
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). 5 different chords appear 31 times in total; 4 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 ×6
Em Bm Dii → vi Bmiv → iminor plagal ×2

The move to watch is F# → Bm, heard 6 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 F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
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.
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

Starting on Bm, the song gives away its key from the very first bar. The backbone is F#, Bm, G, Em — V/vi–vi–IV–ii from the D side, V–i–VI–iv 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.