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)
Ebru Yaşar - Nasıl Uyuyorsun - Chord
Key D major – B minor Chords F#m, Em, G, Bm Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Em F#m
Nasıl uyuyorsun geceleri nasıl
Em
Beni de soğuttun aşktan
F#m Em
Durumum çok ağır
F#m
Nasıl uyuyorsun geceleri nasıl
Em F#m
Dilerim yataklarda yalnızlığa sarıl
Em F#m Em F#m
F#m G
Bir daha bir yerlerde
F#m Em
Karşılaşır mıyız bilmem ama
F#m G
Seni gördüğümde
F#m Em
Elim ayağım dolanmaz inşallah
F#m G
Bu da geçer diyorlar
F#m Em
Sanırım halimi görmüyorlar
F#m G
Onu bunu geçtim de
Em G
Merak ettiğim bir şey var
Em F#m
Nasıl uyuyorsun geceleri nasıl
Em
Beni de soğuttun aşktan
F#m Bm
Durumum çok ağır
Em F#m
Nasıl uyuyorsun geceleri nasıl
Em F#m Bm
Dilerim yataklarda yalnızlığa sarıl
End of song Play again?
Ebru Yaşar - Nasıl Uyuyorsun Tabs
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Harmony analysis
Ebru Yaşar – Nasıl Uyuyorsun: key and chord analysis
The song opens on Em 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because it comes to rest on Bm and Bm is heard 2 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 14× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 17× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 5× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 2× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 2× |
| 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 | 14× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 17× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 5× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 38 times in total; 4 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
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×2
The move to watch is F#m → Bm, heard 2 times. From the Bm side it is v → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii → 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 Em, land on E, G, B — 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
Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are F#m, Em, G, Bm; read them as iii–ii–IV–vi in D or v–iv–VI–i in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m → Bm (iii → vi in D, v → i in Bm): natural-minor cadence — gentle, modal arrival. The final chord is Bm; the ear comes to rest in Bm.
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.
Ebru Yaşar - Nasıl Uyuyorsun 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: Gülden MutluMusic: Gülden MutluArrangement: Ozan Doğulu
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