Emrah - Gerçek Şu ki (Ozan Doğulu) - Chord

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

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Capo 0

Bm                        G
Bu hasretin sonu nereye kadar
A                Em               F#m
Sana yalvarıyorum inan olmaz bu kadar
Bm                                G
Bırakmam peşini sen benim olana kadar
A                 Em                F#m
Kim ne derse desin beklerim ölene kadar

F#m              G
Yalanlara dolanlara
F#m             G
Bu aralar olanlara
Bm                 G
Ben hakkımı helal etmem
Em             F#m
Aramızı bozanlara

F#m                   G
Kaç kez dön dedim ben sana
F#m             G
İnanıp dönmedin bana
Bm                 G
Sanki beni hiç tanımadın
Em             F#m
İnandın o insanlara

F#m         Em
Gerçek şu ki seni çok seviyorum
F#m         Em              G
Gerçek şu ki seni çok özlüyorum
          Bm                G
Kalbimdeki senden haberin olsa
                 F#m
Bugün dönüp gelirsin

F#m         Em
Gerçek şu ki sensiz yapamıyorum
F#m         Em
Gerçek şu ki nefes alamıyorum
         Bm               G
Sana olan aşkım bambaşka inan
              F#m
Bunu iyi bilirsin

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Emrah - Gerçek Şu ki (Ozan Doğulu) Tabs

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Harmony analysis

Emrah – Gerçek Şu ki (Ozan Doğulu): key and chord analysis

The song opens on Bm and ends on F#m. 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: to us the song feels closer to the B minor side because it opens on Bm and Bm is heard 6 times while D never appears. 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	8×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	14×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	11×
V	A	Dominant — strongest pull home	A · C# · E	2×
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	—
III	D	Relative major — the bright side	D · F# · A	—
iv	Em	Subdominant — moves away from home	E · G · B	8×
v	F#m	Minor dominant — soft pull	F# · A · C#	14×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	11×
VII	A	Subtonic — steps back to the tonic	A · C# · E	2×

Analysis

The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 41 times in total; 5 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

G Bm DIV → vi BmVI → iVI → i ×3
G A DIV → VIV → V BmVI → VIIVI → VII ×2
Em Bm Dii → vi Bmiv → iminor plagal ×1
F#m Bm Diii → vi Bmv → inatural-minor cadence ×1

The move to watch is G → Bm, heard 3 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 F#m, land on F#, A, C# — 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 Em, land on E, G, B — 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 chords that keep coming back are F#m, G, Em, Bm; read them as iii–IV–ii–vi in D or v–VI–iv–i in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Bm (IV → vi in D, VI → i in Bm): VI → i — falls a half step into home. The final chord is F#m; 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.