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)
Yüksek Sadakat - Beklediğim Ne Varsa Sensin - Chord
Key D major – B minor Chords Bm, A, D, E, Em, G, F# Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm D A E
Tünemiş kuşlar gibiyim enkaz gemilerde
Bm D A E
Bırakıp gitmişsin beni bomboş şehirlerde
Bm D A E
Bm D A E
Kış ısırır zorlu geçer ıssız sahillerde
Bm D A E
Tek parçayken de eksiktim malum nedenlerle
Bm D A E
Önümde kurşuni deniz gözlerimde perde
Bm D A E
Dağılırken zerrelerim senin ellerinde
Bm D A E
Tünemiş kışlar gibiydim enkaz gemilerde
G A
Şimdi yerin nerelerde
Bm D
Haber saldım kedilerle
Em G A
Söyleyecekler gördükleri zaman
F#
Tez vakitte
Bm Em
Dinliyorsan sesime yakın gel
Bm Em
Korkuyorsan silahın takın gel
Bm Em A
Şüphedeysen dön dolaş bir bakın gel
Bm
Beklediğim ne varsa sensin
End of song Play again?
Yüksek Sadakat - Beklediğim Ne Varsa Sensin Tabs
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Harmony analysis
Yüksek Sadakat – Beklediğim Ne Varsa Sensin: 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.
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 13 times against 9 for D 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | 9× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 4× |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 8× |
| 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# | 1× |
| IV | G | Subdominant — moves away from home | G · B · D | 2× |
| V | A | Dominant — strongest pull home | A · C# · E | 11× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 13× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 13× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 9× |
| iv | Em | Subdominant — moves away from home | E · G · B | 4× |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 8× |
| 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# | 1× |
| VI | G | Submediant — warm colour | G · B · D | 2× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 11× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 48 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. E acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×2
- Em Bm Dii → vi Bmiv → iminor plagal ×2
- G A DIV → VIV → V BmVI → VIIVI → VII ×2
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×1
- Em A Dii → Vii → V Bmiv → VII ×1
The move to watch is A → Bm, heard 2 times. From the Bm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the D side it reads V → vi (deceptive cadence: expected D, lands on Bm). 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — 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.
- 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
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. The chords that keep coming back are Bm, A, D, E; read them as vi–V–I–V/V in D or i–VII–III–IV in 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 A → Bm (V → vi in D, VII → i in Bm): Aeolian arrival — rises a whole tone into home. Ending on Bm, the song seals Bm as home.
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.
Yüksek Sadakat - Beklediğim Ne Varsa Sensin 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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Lyrics: Kutlu ÖzmakinacıMusic: Kutlu ÖzmakinacıArrangement: Kutlu Özmakinacı
Serkan Özgen
Uğur Onatkut
Mehmet Kenan Vural
Sefa Deniz Alemdar
Serkan Özgen
Uğur Onatkut
Mehmet Kenan Vural
Sefa Deniz Alemdar
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