Sezen Aksu - Yol Arkadaşım - Chord

Key D major – B minor Chords G, Em, F#m, Bm, A, Dmaj7 Easy key C (capo 2)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Bayhan versiyon | Db - Bbm

            Bm                      G
Yol arkadaşım gördün mü duydun mu olup bitenleri
       Em
Kıskanıyor insan bazen basıp gidenleri
   F#m                      G
Yalnız aşmışız iyice üstelikte alışmışız
          Em          A           Dmaj7
Hiç beklentimiz kalmamış dosttan bile

      Bm                             G
Korkular basmış dünyayı, şimdi bir semt adı vefa
      Em
Kutsal kavgalardan bile kaçan kaçana
    F#m                         G
Anlaşılır gibi değiliz tek bedende kaç kişiyiz
     Em                A              Dmaj7
Hem yok eden hem de tanık, ne esaslı karmaşa

F#m                       G
Ben sana küsüm aslında, haberin yok
Em                      F#m
Koyup gittiğin yerde kötülük çok
         Bm                            G
Kime kızayım, nazım senden başka kime geçer
Em            A                Dmaj7
Benim sensiz kolum bacağım, ocağım yok

        Bm             G
Sen esas alemi seçtiğinden beri
     Em
Ben o saniyede bittiğimden beri
   Bm                   G
Dünya bildiğin dünya, dönüp duruyor işte
      Em               A            F#m
Uzun uzun konuşuruz bir gün son İstanbul beyi

F#m                       G
Ben sana küsüm aslında, haberin yok
Em                      F#m
Koyup gittiğin yerde kötülük çok
         Bm                            G
Kime kızayım, nazım senden başka kime geçer
Em            A                Dmaj7
Benim sensiz kolum bacağım, ocağım yok

End of song Play again?

Sezen Aksu - Yol Arkadaşım Tabs

NotesX

Harmony analysis

Sezen Aksu – Yol Arkadaşım: key and chord analysis

The song opens on Bm and ends on Dmaj7. 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)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between D major and B minor because it comes to rest on D, it opens on Bm and Bm is heard 6 times against 4 for D. Try reading the chords both ways and see which feels more like home to you.

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
Imaj7	Dmaj7	Tonic — home	D · F# · A · C#	4×
ii	Em	Supertonic — prepares the dominant	E · G · B	10×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	7×
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	5×
vi	Bm	Relative minor — the melancholy side	B · D · F#	6×
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#	6×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
IIImaj7	Dmaj7	Relative major — the bright side	D · F# · A · C#	4×
iv	Em	Subdominant — moves away from home	E · G · B	10×
v	F#m	Minor dominant — soft pull	F# · A · C#	7×
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	5×

Analysis

The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 42 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Em A Dii → Vii → V Bmiv → VII ×5
A Dmaj7 DV → Imaj7authentic cadence BmVII → IIImaj7 ×4
F#m Bm Diii → vi Bmv → inatural-minor cadence ×2
Em Bm Dii → vi Bmiv → iminor plagal ×1

The move to watch is Em → A, heard 5 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 G, land on G, B, D — 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.

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 backbone is G, Em, F#m, Bm — IV–ii–iii–vi from the D side, VI–iv–v–i from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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 Dmaj7; 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.