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)
Ayaz Erdoğan - Sen de Yan - Chord
Key D major – B minor Chords Bm, A, G, F#7 Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm A G F#7
Bm A
Sonumuza bak, yine mi darbe daha
G F#7
Kaldım öyle gidince edemem mi veda
Bm A
Söyle unuturum kaç ayda
G F#7
Hangi sonbaharda belki bin yaşında
Bm A
Sen de yan, olmasın duyan
G F#7
Gidenin ardında yapayalnız uyan
Bm A
Boşver ya, olamam düşman
G F#7
Birini öylece sev geçmesin zaman
Bm
Her şey, çok güzeldi
A
Zaman geçmesin diye çok direndim
G
Üstüme başıma hep özendim
F#7 Bm
Her buluşmada çok güvendim sana
Bm A
Hep bahsederdin, geçmişinle kendini mahvederdin
G
Dokunur omzuna "topla" derdim
F#7
Tamam Artık geçti derdin
Bm
Durdum yanında
A
Bir adım bile yorulmam
G
Sana söz hiç bırakmam
F#7 Bm
Her şey yolunda derken
A
Hiç farkedemedim
G
Sana Kal diyemedim
F#7
Nasıl affedersin onu
Bm A
Sen de yan, olmasın duyan
G F#7
Gidenin ardında yapayalnız uyan
Bm A
Boşver ya, olamam düşman
G F#7
Birini öylece sev geçmesin zaman
Bm
Yine mi ben
A
Kalamam artık geceyi gün edemem
G
Öylece bakıp her şeye nasip demem
F#7
Sakın geri gelme, arayıp sana dön dersem
Bm
Kapat Telefonu,Biri telef olur ama
A
Biri nefes olur bana açılmaz o konun
G
İçin için yanarsın kaybedilen için
F#7
O masalardan kalkarsın iki kadeh içip
Bm
Bir yanım hala soğuk üşür daha da
A
Düşüp kalkamam benide düşün arada ya
G
Gözlerime bak bana doğruları söyle
F#7
Bi başkasına koştun avundun benimle
Bm
Sana yakışmadı inan bana da
A
Gözümüzde büyüttük aşkı bu aralar
G
Dedin ama alır onu bir gün yaradan
F#7
Yaşamaya çalışırsın en baştan
Bm A
Ama olmayacak, yeri dolmayacak
G F#7
Giden anlamaz sen kalana sor
Bm
Gün doğmayacak
A
O hiç yanmayacak
G F#7
Adım atacaksın zar zor
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Ayaz Erdoğan - Sen de Yan Tabs
NotesX
Harmony analysis
Ayaz Erdoğan – Sen de Yan: key and chord analysis
The song opens on Bm and ends on F#7. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
- #7 = A# (harmonic-minor leading tone from the V chord)
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, Bm is heard 18 times while D never appears and the major V chord points straight at Bm. 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.
| 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# | — |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 17× |
| IV | G | Subdominant — moves away from home | G · B · D | 17× |
| V | A | Dominant — strongest pull home | A · C# · E | 17× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 18× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 18× |
| 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# | — |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 17× |
| VI | G | Submediant — warm colour | G · B · D | 17× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 17× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 69 times in total; 3 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F#7 is V7/vi, a secondary dominant heading for Bm.
Chord movement
- F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×16
The move to watch is F#7 → Bm, heard 16 times. From the Bm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi (secondary resolution: F#7 resolves a fourth up to Bm). 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 A, land on A, C#, E — 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.
- When F#7 comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
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
Starting on Bm, the song gives away its key from the very first bar. Bm, A, G, F#7 carry the song: vi–V–IV–V7/vi relative to D, i–VII–VI–V7 relative to Bm. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm (V7/vi → vi in D, V7 → i in Bm): harmonic-minor cadence — the major V resolves dramatically. It closes on F#7, 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.
Ayaz Erdoğan - Sen de Yan 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: Ayaz ErdoğanMusic: Ayaz ErdoğanArrangement: Ayaz Erdoğan
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