Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Sinan Akçıl - Yalan (Demet Akalın) - Chord
Key Bb major – G minor Chords Dm7, Ebmaj7, Cm7, Gm, F Easy key C
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Key: Bb | Gm
Capo: 0
Ebmaj7 Ebmaj7 Dm7 Dm7
Gm Dm7
Evet, kabul bir tanem bir kıymet vardı hala
Ebmaj7 Dm7
Senin o gerçek yüzünü görene kadar
Gm Dm7
Hata kimin onu geç bitti ve şimdi çok geç
Ebmaj7 Dm7
Anladım ben en sonunda söylediğin her şey
Ebmaj7 Dm7
Yalan, yalan apaçık ortada her şey yalan, yalan
F Ebmaj7 Dm7 Cm7 Ebmaj7
Utanma yok sende, her şeyin her zaman yalan
Cm7 Dm7
Yalan değil bu inan
Gm Dm7
Yağmur olsan yağma bana
F Ebmaj7
Aşkı kırdın aşk olsun sana
Cm7 Dm7 Ebmaj7
İnanmıştım ama artık sen hiç boşa
Cm7 Dm7
Bekleme beni
Gm Dm7
Yıldız olsan söndün bana
F Ebmaj7
Bilmem kaç kez döndüm sana
Cm7 Dm7 Ebmaj7
Ama artık öldüm sana, sen hiç boşa
Cm7 Dm7
Bekleme beni
Cm7 Dm7
Söz olsam söyleme beni
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Sinan Akçıl - Yalan (Demet Akalın) Tabs
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Harmony analysis
Sinan Akçıl – Yalan (Demet Akalın): key and chord analysis
The song opens on Ebmaj7 and ends on Dm7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because Gm is heard 4 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 7× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 16× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 11× |
| V | F | Dominant — strongest pull home | F · A · C | 3× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 4× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 4× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 7× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 16× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 11× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 3× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 41 times in total; 5 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
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×4
The move to watch is Dm7 → Gm, heard 4 times. From the Gm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G 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.
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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Ebmaj7 lays a solid floor for everything that follows. Dm7, Ebmaj7, Cm7, Gm carry the song: iii7–IVmaj7–ii7–vi relative to Bb, v7–VImaj7–iv7–i relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Gm (iii7 → vi in Bb, v7 → i in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Dm7; the ear comes to rest in Bb.
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.
Sinan Akçıl - Yalan (Demet Akalın) 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: Sinan AkçılMusic: Sinan AkçılArrangement: Sinan Akçıl
Enes Yolcu
Enes Yolcu
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