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)
Jan Soykök - Her Unuttum Sandığımda - Chord
Key D major – B minor Chords Bm7, E, F#7, D, B7, Em7, A, Dmaj7 … Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm7 D E F#7
Dolandım durdum boşluklarca
Bm7
Kendimi nereye atsam
D E F#7
İmajını hep orada buldum
Bm7
İnan çok yoruldum
D E F#7
Şikayetlerim mesajlarca
Bm7
Her dibe vuruşta
D E F#7
Neden hep ismini anar oldum
Bm7
Kıyılarına vurdum
B7 Em7
Çünkü beni her zaman en iyi sen anladın
A Dmaj7 E
Çünkü sadece sevgilim değil en iyi arkadaşımdın
C#m F#7
Bir 'sen' mi yarattım, en güzel yanlarından
B7 Em7
Çünkü bende sadece güzel hatıralar bıraktın
A Dmaj7 E
En yüce duygularımın yegâne kaynağıydın
C#m
Nasıl da yanıldım
F#7 D
Her unuttum sandığımdaaaa
Bm7 D E F#7
Arandım durdum umarsızca
Bm7
Her yeni buluşta
D E F#7
Başka bi' kaybedişe savruldum
Bm7
Bu döngüde hapsoldum
End of song Play again?
Jan Soykök - Her Unuttum Sandığımda Tabs
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Harmony analysis
Jan Soykök – Her Unuttum Sandığımda: key and chord analysis
The song opens on Bm7 and ends on Bm7. 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, D is heard 9 times against 8 for Bm 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 | 7× |
| Imaj7 | Dmaj7 | Tonic — home | D · F# · A · C# | 2× |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 2× |
| 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# | — |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 8× |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | 2× |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 8× |
| V7/ii | B7 | Secondary dominant V/ii — leads to Emsecondary dominant | B · D# · F# · A | 2× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| vii | C#m | Chromatic colour chordoutside the key | C# · E · G# | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 8× |
| V7/iv | B7 | Secondary dominant V/iv — leads to Emsecondary dominant | B · D# · F# · A | 2× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| ii | C#m | Chromatic colour chordoutside the key | C# · E · G# | 2× |
| III | D | Relative major — the bright side | D · F# · A | 7× |
| IIImaj7 | Dmaj7 | Relative major — the bright side | D · F# · A · C# | 2× |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 2× |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 8× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 8× |
| VI | G | Submediant — warm colour | G · B · D | — |
| 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). 9 different chords appear 41 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#7 is V7/vi, a secondary dominant heading for Bm. E, B7 act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- F#7 Bm7 DV7/vi → vi7secondary resolution BmV7 → i7harmonic-minor cadence ×6
- A Dmaj7 DV → Imaj7authentic cadence BmVII → IIImaj7 ×2
- B7 Em7 DV7/ii → ii7secondary resolution BmV7/iv → iv7 ×2
- Em7 A Dii7 → Vii → V Bmiv7 → VII ×2
- F#7 B7 DV7/vi → V7/iisecondary resolution BmV7 → V7/iv ×1
The move to watch is F#7 → Bm7, heard 6 times. From the Bm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi7 (secondary resolution: F#7 resolves a fourth up to Bm7). 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over F#7, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- When F#7 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
The first chord is Bm7; the ear learns where home is within a second. The backbone is Bm7, E, F#7, D — vi7–V/V–V7/vi–I from the D side, i7–IV–V7–III from the Bm side. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm7 (V7/vi → vi7 in D, V7 → i7 in Bm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Bm7; 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.
Jan Soykök - Her Unuttum Sandığımda 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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