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)
Sinem - Yağmur - Chord
Key D major – B minor Chords Dm7, Ebmaj7, Cm7, Bbmaj7, Gm, F Easy key E
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Key: D | Bm
Capo: 0
Ebmaj7 Dm7 Cm7 Bbmaj7
Gm Dm7
Senden çok uzakta bir yerlerdeyim
Gm Dm7
Bazen sevinç kederlerdeyim
Ebmaj7 F
İnan tatlım kandım senin aşkına
Ebmaj7
Her yağmur yağdığında
Dm7
Gözlerin hep aklımda
Cm7
Adını ne zaman ansam
Bbmaj7
Yağmur yağar buralara
Ebmaj7 Dm7
Kısacık bir aşktı bu yaşadığımız
Cm7 Bbmaj7
Tatlı bir oyundu oynadığımız
Gm Dm7
Sence başka ne olabilir bu
Ebmaj7 Dm7
Bence üzerimize
Cm7 Bbmaj7
Yağan bir yaz yağmuru
Ebmaj7 Dm7
Bence üzerimize
Cm7 Bbmaj7
Yağan bir yaz yağmuru
End of song Play again?
Sinem - Yağmur Tabs
NotesX
Harmony analysis
Sinem – Yağmur: key and chord analysis
The song opens on Ebmaj7 and ends on Bbmaj7. 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: we can't honestly pick a side here — the song moves freely between D major and B minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| i7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 8× |
| bIImaj7 | Ebmaj7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Eb · G · Bb · D | 6× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| bIII | F | Borrowed from the parallel minorborrowed chord | F · A · C | 1× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| III | F# | Chromatic colour chordoutside the key | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| iv | Gm | Minor iv — borrowed from the parallel minorborrowed chord | G · Bb · D | 3× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| bVImaj7 | Bbmaj7 | Borrowed from the parallel minorborrowed chord | Bb · D · F · A | 5× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | — |
| bvii7 | Cm7 | Chromatic colour chordoutside the key | C · Eb · G · Bb | 5× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | — |
| bii7 | Cm7 | Chromatic colour chordoutside the key | C · Eb · G · Bb | 5× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iii7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 8× |
| #IIImaj7 | Ebmaj7 | Chromatic colour chordoutside the key | Eb · G · Bb · D | 6× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| #IV | F | Chromatic colour chordoutside the key | F · A · C | 1× |
| 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# | — |
| VI | G | Submediant — warm colour | G · B · D | — |
| vi | Gm | Chromatic colour chordoutside the key | G · Bb · D | 3× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
| #VIImaj7 | Bbmaj7 | Chromatic colour chordoutside the key | Bb · D · F · A | 5× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 28 times in total; 0 of them sit naturally inside the shared scale. Ebmaj7, Bbmaj7, Gm, F are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- On Ebmaj7, follow the chord's notes (Eb · G · Bb · D) rather than the key's scale — it's a borrowed colour.
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 up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Ebmaj7; the ear learns where home is within a second. The chords that keep coming back are Dm7, Ebmaj7, Cm7, Bbmaj7; read them as i7–bIImaj7–bvii7–bVImaj7 in D or iii7–#IIImaj7–bii7–#VIImaj7 in Bm. Ebmaj7 briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. The final chord is Bbmaj7; 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.
Sinem - Yağmur 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: Cihan ÖzdenMusic: Cihan Özden
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