TNK - Yine Yazı Bekleriz - Chord

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

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Capo 0

Bm  Bm  A  A  G  Em  C

Bm                     A
Ah ne çok özledim seni bir bilsen ah bir görsen
Em                    A             G
Sonbaharlarım gelir o yaprak hiç düşmez
Bm                         A
Hepsi bitti hepsi bitti hepsi kaybolan günlerdi
    Em                             A               C
Bir yalnız sen bir yalnız ben bizi ne nasıl tükettiki

Bm                                         F#m
Belki unuturuz onu tüm kasımdan kalma çiçekler gibi
                         Em      A                         Bm
Arasına koyarız şarkı yazdığımız kırık hayaller saklı defterin
Bm                                         F#m
Belki de saklarız onu kalbimizde bir delik açar gibi
A                   Em                  A
Belki denize ulaşır içimizdeki nehirler bir gün
Bbm            Bm
Yine yazı bekleriz

Bm  Bm  A  A  G  G  F#m  F#

Bm                     A
Ah ne çok özledim seni bir bilsen ah bir görsen
Em                    A             G
Sonbaharlarım gelir o yaprak hiç düşmez
Bm                        A
Seni bekler yağmurlarım öyle bir yağarki hiç dinmez
   Em                      A            C
Sonra yedi bahar geçer o yaz hiç hiç gelmez

End of song Play again?

TNK - Yine Yazı Bekleriz Tabs

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Harmony analysis

TNK – Yine Yazı Bekleriz: key and chord analysis

The song opens on Bm and ends on C. 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 opens on Bm, Bm is heard 12 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	7×
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#	1×
IV	G	Subdominant — moves away from home	G · B · D	5×
V	A	Dominant — strongest pull home	A · C# · E	15×
bvi	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	1×
vi	Bm	Relative minor — the melancholy side	B · D · F#	12×
bVII	C	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	C · E · G	3×
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#	12×
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	3×
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	7×
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#	1×
VI	G	Submediant — warm colour	G · B · D	5×
VII	A	Subtonic — steps back to the tonic	A · C# · E	15×
#vii	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	1×

Analysis

The key pair is D major and its relative B minor (2 sharps). 8 different chords appear 47 times in total; 5 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. C is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Em A Dii → Vii → V Bmiv → VII ×6
G Bm DIV → vi BmVI → iVI → i ×2
F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×1
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1

The move to watch is Em → A, heard 6 times. From the Bm side it is iv → VII; from the D side it reads ii → V (ii → V: the classic preparation of the dominant). 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 A, land on A, C#, E — 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 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.
On C, follow the chord's notes (C · E · G) 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

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. A, Bm, Em, G carry the song: V–vi–ii–IV relative to D, VII–i–iv–VI relative to Bm. 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 Em → A (ii → V in D, iv → VII in Bm): ii → V — the classic preparation of the dominant. It closes on C, letting the D 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.