Sezer Sarıgöz - Hep Sen Varsın - Chord

Key D major – B minor Chords F#m7, Bm, Em7, A, G Easy key C (capo 2)

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Capo 0

Bm  A  Em7  F#m7

      Bm           A
Unutmadım yapılanları
             Em7            F#m7
Çektiğim bu acı yine yok ilacı
             Bm
Dar gelir bu evren
            A
Beni zorlaması
           Em7              F#m7
Her şeye rağmen benim olmaması

Bm        Em7        F#m7        Bm
Kimse dokunamaz sana ben gibi asla
         Em7       F#m7           Bm
Eller üzebilir sen iyi bilirdin oysa

           F#m7                    Em7
Yinede sıkılırsan kaç hadi gel yanıma
                 F#m7
Nede olsa beni biliyosun
              G
Öfkem beş dakika 

G                        A
Dar gelir bana her yer anlamsız
F#m7                     Bm
Duygular bozuk uykular zamansız
     Em7                        F#m7
Yine baktığım her yerde hep sen varsın
  G              F#m7         Bm
Benim kalp belli ki hep sende kalmış

End of song Play again?

Sezer Sarıgöz - Hep Sen Varsın Tabs

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Harmony analysis

Sezer Sarıgöz – Hep Sen Varsın: 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 8 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	—
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	7×
iii7	F#m7	Mediant — a tonic-family shade	F# · A · C# · E	10×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	3×
V	A	Dominant — strongest pull home	A · C# · E	4×
vi	Bm	Relative minor — the melancholy side	B · D · F#	8×
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#	8×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iv7	Em7	Subdominant — moves away from home	E · G · B · D	7×
v7	F#m7	Minor dominant — soft pull	F# · A · C# · E	10×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	3×
VII	A	Subtonic — steps back to the tonic	A · C# · E	4×

Analysis

The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 32 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

F#m7 Bm Diii7 → vi Bmv7 → inatural-minor cadence ×7
G A DIV → VIV → V BmVI → VIIVI → VII ×1

The move to watch is F#m7 → Bm, heard 7 times. From the Bm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii7 → 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 F#m7, land on F#, A, C# — 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 Em7, land on E, G, B — 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

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. The chords that keep coming back are F#m7, Bm, Em7, A; read them as iii7–vi–ii7–V in D or v7–i–iv7–VII in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m7 → Bm (iii7 → vi in D, v7 → i in Bm): natural-minor cadence — gentle, modal arrival. It closes on Bm, letting the Bm 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.