Ümit Sayın - Beni Çağırma - Chord

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

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Capo 0

Bm        F#     Em            G   F#
Beni çağırma korkar oldum aşkından
Bm            F#      Em              G  F#
Sen beni çağırma yanıp kül olmuş bağrına

Bm  Bbm  Em  G  F#  
Bm  Bbm  Em  G  Bbm

Bm                Em
Hiç aklımda yokken sevdiğim
G              F#m
Hatırlatma bana kendini
Bm               Em
Yüzünü görmek acımı tazeler
G                   A
Unutmak yalan gelir o an gönlüme

G                A
Dönüyor başım dönüyor dünya
G                 A
Duramaz oldum ben karşında
Em                D
Dönüyor başım dönüyor dünya
     G             A
Sevdiysen beni bana bağışla

Bm        F#     Em            G   F#
Beni çağırma korkar oldum aşkından
Bm            F#      Em              G  F#
Sen beni çağırma yanıp kül olmuş bağrına

Bm  Bm  D  G
Bm  Bm  D  F#m


G     Bm        Dm      G     
Aaaah neredesin ruhumun bekçisi
Bm          Dm       F#m
Bir son ver bitsin ziyaretim
G          Bm        Dm        G
Tanrının huzur veren kar beyaz ışığı
Bm             Dm    F#m
Al beni bitsin dünya nöbetim

End of song Play again?

Ümit Sayın - Beni Çağırma Tabs

NotesX

Harmony analysis

Ümit Sayın – Beni Çağırma: 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)
#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 16 times against 3 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	3×
i	Dm	Chromatic colour chordoutside the key	D · F · A	4×
ii	Em	Supertonic — prepares the dominant	E · G · B	9×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	4×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	9×
IV	G	Subdominant — moves away from home	G · B · D	16×
V	A	Dominant — strongest pull home	A · C# · E	4×
bvi	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	3×
vi	Bm	Relative minor — the melancholy side	B · D · F#	16×
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#	16×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	3×
iii	Dm	Chromatic colour chordoutside the key	D · F · A	4×
iv	Em	Subdominant — moves away from home	E · G · B	9×
v	F#m	Minor dominant — soft pull	F# · A · C#	4×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	9×
VI	G	Submediant — warm colour	G · B · D	16×
VII	A	Subtonic — steps back to the tonic	A · C# · E	4×
#vii	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	3×

Analysis

The key pair is D major and its relative B minor (2 sharps). 9 different chords appear 68 times in total; 6 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. Dm, Bbm step outside the scale as colour chords.

Chord movement

F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×5
G Bm DIV → vi BmVI → iVI → i ×5
G A DIV → VIV → V BmVI → VIIVI → VII ×4
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1
F#m Bm Diii → vi Bmv → inatural-minor cadence ×1

The move to watch is F# → Bm, heard 5 times. From the Bm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V/vi → 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 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.
Over F#, land on F#, A#, C# — 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

2 semitones down · capo 2 keeps the original pitch
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. The chords that keep coming back are Bm, G, F#, Em; read them as vi–IV–V/vi–ii in D or i–VI–V–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 F# → Bm (V/vi → vi in D, V → i in Bm): harmonic-minor cadence — the major V resolves dramatically. Ending on F#m, the song seals D 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.

Ümit Sayın - Beni Çağırma 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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