Sancak - Söz Ver - Chord

Key D major – B minor Chords Bm, G Easy key G (capo 7)

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Capo 0

Bm
Sanki kim benim umrumda
                        G
Sen dışında bütün dünya yansın

Bm  Bm  G  G

Bm
 Beni öldürmen lazım, soğumuşken sancım
G
 En başından bile bile sana dönmem lazım
Bm
 Ellerini çek üzerimden, nefretine muhtacım
G
 Her şeyimi aldın içinden bu küçük dünyamın

Bm
Umarım bu nefretle ölmem

Ona da benim gibi sarılacağına söz ver
G
Birkaç parçam kaldı kırılmayan

O yüzden bir gün yine gelip beni uçurumlardan bırakacağına söz ver

Bm
Sanki kim benim umrumda
                        G
Sen dışında bütün dünya yansın

Uyuttun bi de omzunda
                          Bm
Öldürdün beni uykumda, yandım
                                                G
Gelip beni bulsunlar kalbimin kör kuyusunda kayıbım
                                               Bm
Alıp beni koynundan yokluğunla sınasın yine tanrım

Bm
Beni unutman lazım, kabuklarımı açma diye
                          G
Aynı yarayı deşme diye, bu yarayı kesip atmam için bana bi umut lazım

Bunu bilip de mutlu olma diye seni unutmam lazım
Bm
Rahat mı yaslandığın omuz

Bir gün aklına gelirse eğer onun omzunda kokum
       G
Ondan uzak dur

Onu da benim yerime koyup gelme

Benden uzak dur ya da gel inandır ve sonra tuzak kur
Bm
Umarım bu nefretle ölmem

Ona da benim gibi sarılacağına söz ver
G
Birkaç parçam kaldı kırılmayan

O yüzden bir gün yine gelip beni uçurumlardan bırakacağına söz ver

Bm
Sanki kim benim umrumda
                        G
Sen dışında bütün dünya yansın

Uyuttun bi de omzunda
                          Bm
Öldürdün beni uykumda, yandım
                                                G
Gelip beni bulsunlar kalbimin kör kuyusunda kayıbım
                                               Bm
Alıp beni koynundan yokluğunla sınasın yine tanrım

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Sancak - Söz Ver Tabs

NotesX

Harmony analysis

Sancak – Söz Ver: key and chord analysis

The song opens on Bm and ends on Bm. 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)

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 and Bm is heard 15 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.

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#	—
IV	G	Subdominant — moves away from home	G · B · D	13×
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	15×
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#	15×
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#	—
VI	G	Submediant — warm colour	G · B · D	13×
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). 2 different chords appear 28 times in total; 2 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

G Bm DIV → vi BmVI → iVI → i ×12

The move to watch is G → Bm, heard 12 times. From the Bm side it is VI → i (VI → i: falls a half step into home); from the D side it reads IV → 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.

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

5 semitones up · capo 7 keeps the original pitch
2 semitones down · capo 2 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 Bm, G; read them as vi–IV in D or i–VI in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Bm (IV → vi in D, VI → i in Bm): VI → i — falls a half step into home. Ending on Bm, the song seals Bm 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.