Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
İpek Demir - Başımın Tatlı Belası (Mert) - Chord
Key G major – E minor Chords Bm, D, C, Em, G, Am, F#m7b5 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm
Biz seninle yıllar yılı
Ne birleştik ne ayrıldık
C
Bazen güldük mutlu olduk
D Bm
Bazen hiç yere darıldık
Bm C
Heves olsa çoktan geçer
D Em
Arzu olsa çoktan biter
Bm G
Bence bu aşk böyle gelmiş
Am Bm
Bundan sonra böyle gider
Em Bm
Başımın tatlı belası
Em Bm
Gönlümün kara sevdası
D C
Her şey boş senden sonrası
F#m7b5 Bm
Vazgeçmem senden senden
D Bm
Ayrılmam senden
Bm
Biz seninle bir bütünüz
İstesekte kopamayız
C
Bir bedende can gibiyiz
D Bm
Biz yabancı olamayız
End of song Play again?
İpek Demir - Başımın Tatlı Belası (Mert) Tabs
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Harmony analysis
İpek Demir – Başımın Tatlı Belası (Mert): key and chord analysis
The song opens on Bm and ends on Bm. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because Em is heard 3 times against 1 for G. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | 1× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 1× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 11× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 5× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 3× |
| viiø7 | F#m7b5 | Leading-tone chord — tension | F# · A · C · E | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 3× |
| iiø7 | F#m7b5 | Supertonic — prepares the dominant | F# · A · C · E | 1× |
| III | G | Relative major — the bright side | G · B · D | 1× |
| iv | Am | Subdominant — moves away from home | A · C · E | 1× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 11× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 4× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 5× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 26 times in total; 7 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
- C D GIV → VIV → V EmVI → VIIVI → VII ×3
- Bm Em Giii → vi Emv → inatural-minor cadence ×2
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
The move to watch is C → D, heard 3 times. From the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the G side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Bm, land on B, D, F# — 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.
- Over C, land on C, E, G — 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 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. Bm, D, C, Em carry the song: iii–V–IV–vi relative to G, v–VII–VI–i relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → D (IV → V in G, VI → VII in Em): VI → VII — the rising step that heads for the tonic. The final chord is Bm; the ear comes to rest in G.
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.
İpek Demir - Başımın Tatlı Belası (Mert) 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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