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)
Mert Demir - Dağıldım Sonunda - Chord
Key D major – B minor Chords Em7, Gmaj7, F#m7, Bm7 Easy key C (capo 2)
No ratings yet
or your user informations
Make it yours
Text size
Key: D | Bm
Capo: 0
Gmaj7 F#m7 Em7 Bm7
Gmaj7 F#m7
Göremedim asla senin
Em7 Bm7
O bahsettiğin aşkını, sevgini
F#m7
"Bu aşk" dedim, "savaş değil"
Em7 Bm7
İkimiz de kaybettik yok ki galibi
Em7 Gmaj7
Seni son kez
Gmaj7
Sevdim, sarıldım, unuttum koynunda
F#m7
Kandım, yanıldım, dağıldım sonunda
Em7 Bm7
Hiçbir şey bizi geri getirmez asla
Gmaj7 F#m7 Em7 Bm7
Gmaj7
Ne yazık ki unutmadım
F#m7
Canım çıktı sen çıkmadın
Em7
Biliyordum, baştan bu sona hazırdım
Bm7
Hiç pişman değilim
Gmaj7
Sevdim, sarıldım, unuttum koynunda
F#m7
Kandım, yanıldım, dağıldım sonunda
Em7 Bm7
Hiçbir şey bizi geri getirmez asla
Gmaj7
Sevdim, sarıldım, unuttum koynunda
F#m7
Kandım, yanıldım, dağıldım sonunda
Em7 Bm7
Hiçbir şey bizi geri getirmez asla
End of song Play again?
Mert Demir - Dağıldım Sonunda Tabs
NotesX
Harmony analysis
Mert Demir – Dağıldım Sonunda: key and chord analysis
The song opens on Gmaj7 and ends on Bm7. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because it comes to rest 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 9× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 8× |
| 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# | 8× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 8× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 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 | 9× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 8× |
| 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# | 8× |
| 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 33 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
- Em7 Bm7 Dii7 → vi7 Bmiv7 → i7minor plagal ×8
The move to watch is Em7 → Bm7, heard 8 times. From the Bm side it is iv7 → i7 (minor plagal: deep and melancholic); from the D side it reads ii7 → vi7. 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 Em7, land on E, G, B — 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 F#m7, land on F#, A, C# — 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 Gmaj7 lays a solid floor for everything that follows. Em7, Gmaj7, F#m7, Bm7 carry the song: ii7–IVmaj7–iii7–vi7 relative to D, iv7–VImaj7–v7–i7 relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Bm7 (ii7 → vi7 in D, iv7 → i7 in Bm): minor plagal — deep and melancholic. Ending on Bm7, the song seals Bm as home.
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.
Mert Demir - Dağıldım Sonunda 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Mert DemirMusic: Mert Demir, Gökhan Özen
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.