Yaşar - Sevmemiz Lazım - Chord

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

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Capo 0

Bm  A  G  F#  Bm  A  G  F#

Bm                   G
Ne lazım, ne lazım bana sana
Bm                   G
Ne lazım, ne lazım anlasana
Bm                   G
Korkular kuşkular, sorgu sual
    A    G             F#
Yarına kalır mı hiç bu hâl


Bence bizim
Bm
Uykusuz gecelerimiz
A
Korkusuz sevişmemiz
G                   F#
Kuşkusuz sevmemiz lazım

Bence bizim
Bm
Uykusuz gecelerimiz
A
Korkusuz sevişmemiz
G                   F#
Kuşkusuz sevmemiz lazım

Bm  A  G  F#  Bm  A  G  F#

Bm                G
İçimde korkuların en şahanesi olsun
Bm                    G
Korkular kuşkularımın bahanesi olsun
Bm                    G
Diye sordum, korkarım zor oldu sual
    A     G            F#
Bitiyor gecem, yaz arzuhâl

Nakarat

Bm                   G
Ne lazım, ne lazım diye diye
Bm                   G
Korkular, kuşkularla bitiyor gece
Bm                G
Gelecek zaman ekleri ancak
   A    G          F#
İçime bıçak saplayacak


Bence bizim
Bm
Uykusuz gecelerimiz
A
Korkusuz sevişmemiz
G                   F#
Kuşkusuz sevmemiz lazım

Bence bizim
Bm
Uykusuz gecelerimiz
A
Korkusuz sevişmemiz
G                   F#
Kuşkusuz sevmemiz lazım

Bm                    A
Yoksuluz, gecelerimiz çok kısa
          G                      F#
Dört nala sevmemiz, sevişmemiz lazım

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Yaşar - Sevmemiz Lazım Tabs

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Harmony analysis

Yaşar – Sevmemiz Lazım: key and chord analysis

The song opens on Bm and ends on F#. 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 18 times while D never appears 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	—
ii	Em	Supertonic — prepares the dominant	E · G · B	—
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#	12×
IV	G	Subdominant — moves away from home	G · B · D	21×
V	A	Dominant — strongest pull home	A · C# · E	12×
vi	Bm	Relative minor — the melancholy side	B · D · F#	18×
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#	18×
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	—
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#	12×
VI	G	Submediant — warm colour	G · B · D	21×
VII	A	Subtonic — steps back to the tonic	A · C# · E	12×

Analysis

The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 63 times in total; 3 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.

Chord movement

F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×11
G Bm DIV → vi BmVI → iVI → i ×6
G A DIV → VIV → V BmVI → VIIVI → VII ×3

The move to watch is F# → Bm, heard 11 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 G, land on G, B, D — 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 A, land on A, C#, E — 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

The first chord is Bm; the ear learns where home is within a second. The chords that keep coming back are G, Bm, A, F#; read them as IV–vi–V–V/vi in D or VI–i–VII–V 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. It closes on F#, letting the D side have the last word.

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.