Bilal Sonses - Yapma (Şehzade) - Chord

Key D major – B minor Chords Bm, Gmaj7, Em, F#m Easy key C (capo 2)

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Capo 0

Bm  Gmaj7  Em  F#m

Bm
Şu içimdeki öfke nöbetleri

Bitmez tabi kırgınlıklar
Gmaj7
Bir çınardım devrildim

Toprağım olmuş ellere yar
Em
Seni saran o yabancı kollar

Seni ben gibi sevemezler
F#m
Benim ektiğim gülleri onlar

Bir gün bile sulamazlar

Bm
Olmuş diyorlar o ellere yar
Gmaj7
Gezdim de kayboldum diyar diyar
Em
Başımdan dökülür kaynar sular
F#m
Benim hep zararım kendime yar

Bm                  Gmaj7
Yapma, beni ateşine atma
                Em
Ne olur üzerime gelme
          F#m
Ben zaten yaralı yaralıyam

Bm
Penceresiz kalır kalbimin üstüne taht kurup şehrimi parçalayanlar
Gmaj7
Yaradandandır benim öfkemi saklayıp kimseyi üzmediğim yar
Em
Ne değer bilir, bilmeden halini üstüme üstüme hep geliyorlar
F#m
Onlar bunu iyi sanıyorlar kendini hep üstün görüyorlar

Bm
Papatyalar gibi narin ve de kurak bir çöldeki mehtap
Gmaj7
Sana değmesin istedim üsteledim hallice olup bitap
Em
Okyanusta girdap çek çek hançeri katlet beni
F#m
Ben benden kopmusum hiç olamamışım iflah

End of song Play again?

Bilal Sonses - Yapma (Şehzade) Tabs

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Harmony analysis

Bilal Sonses – Yapma (Şehzade): key and chord analysis

The song opens on Bm and ends on F#m. 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 opens on Bm and Bm is heard 6 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	6×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	6×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	6×
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	6×
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#	6×
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	6×
v	F#m	Minor dominant — soft pull	F# · A · C#	6×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VImaj7	Gmaj7	Submediant — warm colour	G · B · D · F#	6×
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). 4 different chords appear 24 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

F#m Bm Diii → vi Bmv → inatural-minor cadence ×5

The move to watch is F#m → Bm, heard 5 times. From the Bm side it is v → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii → 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 Gmaj7, land on G, B, D — 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.

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. Bm, Gmaj7, Em, F#m carry the song: vi–IVmaj7–ii–iii relative to D, i–VImaj7–iv–v relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m → Bm (iii → vi in D, v → i in Bm): natural-minor cadence — gentle, modal arrival. The final chord is F#m; 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.