Ari Barokas - Beyni Yok - Chord

Key D major – B minor Chords D, Em, G, A Difficulty already in its easiest key

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Capo 0

D  Em  G  D

D   Em      D   Em
Yaralandım, berelendim
D   Em     G   D 
Paralandım ölmedim
D   Em     D     Em
Bir acayip derde daldım
D     Em      G    D 
Böyle bir yar görmedim

D  Em  G  D

D   Em  D  Em
Başına  ne işler açmış
D   Em     G    D 
Sor bilene söylesin
D     Em    D    Em
Anlat anlat dinlemiyor
D    Em     G    D 
Akıl mantık neylesin

G     D  G    D
Bir hata etti yok
G    D   G    D
Tövbeler etti yok
G     D   G     D
Kaç bahar geçti yok
D   Em        G     D 
Bi' de baktım beyni yok
D      Em     G     D 
Bi' de baktım beyni yok

D  Em  G  D

D   Em      D    Em
Kör gözleri perdelenmiş
D     Em    G    D 
Bakıp bakıp görmüyor
D   Em      D     Em
Ne ilaçtır, ne merhemdir
D     Em    G    D 
Yar kendine gelmiyor

G     D  G    D
Bir hata etti yok
G    D   G    D
Tövbeler etti yok
G     D   G     D
Kaç bahar geçti yok
D   Em        G     D 
Bi' de baktım beyni yok
D      Em     G     D 
Bi' de baktım beyni yok

Em
Kendisinden kaçan
D
Sebebini sormazmış
G
Ölesiye sevseler
A
Ölesiye korkarmış

Em
Bir kere gül desem
D
İçin için ağlarmış
G
Aşk dolu sözlerinden 
A
Her biri bir yalanmış

D   Em      D   Em

D   Em      D   Em
Yaralandım, berelendim
D   Em     G   D 
Paralandım ölmedim
D   Em     D     Em
Bir acayip derde daldım
D     Em      G    D 
Böyle bir yar görmedim

G     D  G    D
Bir hata etti yok
G    D   G    D
Tövbeler etti yok
G     D   G     D
Kaç bahar geçti yok
D   Em        G     D 
Bi' de baktım beyni yok
D      Em     G     D 
Bi' de baktım beyni yok

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Ari Barokas - Beyni Yok Tabs

NotesX

Harmony analysis

Ari Barokas – Beyni Yok: key and chord analysis

The song opens on D and ends on D. 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 D major side because it both starts and finishes on D and D is heard 72 times while Bm never appears. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.

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	72×
ii	Em	Supertonic — prepares the dominant	E · G · B	37×
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	37×
V	A	Dominant — strongest pull home	A · C# · E	2×
vi	Bm	Relative minor — the melancholy side	B · D · F#	—
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#	—
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	72×
iv	Em	Subdominant — moves away from home	E · G · B	37×
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	37×
VII	A	Subtonic — steps back to the tonic	A · C# · E	2×

Analysis

The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 148 times in total; 4 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 D DIV → Iplagal cadence BmVI → III ×35
G A DIV → VIV → V BmVI → VIIVI → VII ×2
A D DV → Iauthentic cadence BmVII → III ×1

The move to watch is G → D, heard 35 times. From the D side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Bm side it is VI → III. 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — 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

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is D; the ear learns where home is within a second. D, Em, G, A carry the song: I–ii–IV–V relative to D, III–iv–VI–VII relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → D (IV → I in D, VI → III in Bm): plagal cadence — the soft 'amen' ending. It closes on D, 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.