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)
Sedef Sebüktekin - Unutmam Lazım - Chord
Key D major – B minor Chords A, Bm, G, Dmaj7, Em7, F#m7, F#m Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm A G Dmaj7 Em7 F#m7 A
Bm A G
Tüm savunmasızlığım uyuştururken aklımı
Dmaj7 Em7 F#m7 A
Serin serin bekledim seni, sen de gördün
Bm A G
İnkar etme çok güzeldi her şey aklım hala
Dmaj7 Em7 F#m7 A
Her dokunuşunda özledim seni, sen de gördün
Bm A G Dmaj7
Şimdi, tam şu an cevap vericeksen tutma kendini
Em7 F#m7 A
Gel yatalım yan yana, dün gece olmamış gibi
Bm A G Dmaj7
Herkesten uzak bi yerlerde bulsak ya birbirimizi
Em7 F#m7
Şimdi sessizliğinde unutmam lazım hepsini
Bm F#m G A
ooo ooo ooo unutmam lazım hepsini
Bm F#m G A
ooo ooo ooo unutmam lazım hepsini
Bm A G
Anladım ki anlaşılmazız ve hep yanılmışız
Dmaj7 Em7 F#m A
Söyle üzdüm mü seni, fark etmeden
Bm A G Dmaj7
Anladım ki sevmenin alakası yokmuş sevilmekle
Em7 F#m7 A
Bulunmuyormuş aşk aşkı beklemekle
Bm A G Dmaj7
Şimdi, tam şu an cevap vericeksen tutma kendini
Em7 F#m7 A
Gel yatalım yan yana, dün gece olmamış gibi
Bm A G Dmaj7
Herkesten uzak bi yerlerde bulsak ya birbirimizi
Em7 F#m7
Şimdi sessizliğinde unutmam lazım hepsini
G A Bm A
İçimde bi heves, dönüp duran bi ses var aklımda
G A Bm A
Ben istedim senin bi parçan olmayı, eminim bundan
G A Bm A
Unutmak istemek en istemediğim şey aslında
G A Bm
Yoruldum sadece, zarar verir bu aşk bana
Bm F#m G A
ooo ooo ooo unutmam lazım hepsini
Bm F#m G A
ooo ooo ooo unutmam lazım hepsini
End of song Play again?
Sedef Sebüktekin - Unutmam Lazım Tabs
NotesX
Harmony analysis
Sedef Sebüktekin – Unutmam Lazım: key and chord analysis
The song opens on Bm and ends on A. 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)
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 17 times against 9 for D. 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 |
|---|---|---|---|---|
| Imaj7 | Dmaj7 | Tonic — home | D · F# · A · C# | 9× |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 9× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 8× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 5× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 17× |
| V | A | Dominant — strongest pull home | A · C# · E | 27× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 17× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 17× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| IIImaj7 | Dmaj7 | Relative major — the bright side | D · F# · A · C# | 9× |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 9× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 8× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 5× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 17× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 27× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 92 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
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×14
- G Dmaj7 DIV → Imaj7plagal cadence BmVI → IIImaj7 ×9
- G A DIV → VIV → V BmVI → VIIVI → VII ×8
- F#m7 Bm Diii7 → vi Bmv7 → inatural-minor cadence ×1
The move to watch is A → Bm, heard 14 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 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 G, land on G, B, D — 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 opening Bm lays a solid floor for everything that follows. A, Bm, G, Dmaj7 carry the song: V–vi–IV–Imaj7 relative to D, VII–i–VI–IIImaj7 relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → Bm (V → vi in D, VII → i in Bm): Aeolian arrival — rises a whole tone into home. The final chord is A; 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.
Sedef Sebüktekin - Unutmam Lazım 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: Sedef SebüktekinMusic: Sedef Sebüktekin
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