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)
Oğuzhan Koç - Bi Mani Yoksa - Chord
Key D major – B minor Chords Em7, F#m7, A, Bm7, Dmaj7, Gmaj7 Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Em7 A F#m7 Em7
Bm7
Anlamadım hiç
F#m7
Tek bi kelam etmeden gittin
Neden neden neden
Em7 A Dmaj7
Rastlamadım hiç, sen gibi vefasıza gönül veren
F#m7
Neden neden
Em7 F#m7
Öğreniyordum, döner diyordum aşkta var bu sancılar
Em7 F#m7
Hep seni sordum, geçer diyordum aklımdaki korkular
Bm7 F#m7
Al beni yine yanına bi mani yoksa
İçinde gam ve keder çoksa
Em7
Bi ben gelirim
A Dmaj7 Em7 F#m7
Ara sen kıyamet bile kopsa
Gmaj7 A F#m7
Sal beni rüzgârına bi mani yoksa
Bm7
İçinde fırtınalar çoksa
Em7
Bi ben gelirim
A Dmaj7 Em7 F#m7
Ara sen kıyamet bile kopsa
Bm7 F#m7 Em7 A Dmaj7 Em7 F#m7
Gmaj7 F#m7 Bm7 Em7 A Dmaj7 Em7 F#m7
Bm7
Anlamadım
End of song Play again?
Oğuzhan Koç - Bi Mani Yoksa Tabs
NotesX
Harmony analysis
Oğuzhan Koç – Bi Mani Yoksa: key and chord analysis
The song opens on Em7 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 6 times against 5 for D. 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 |
|---|---|---|---|---|
| Imaj7 | Dmaj7 | Tonic — home | D · F# · A · C# | 5× |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 13× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 13× |
| 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# | 2× |
| V | A | Dominant — strongest pull home | A · C# · E | 7× |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 6× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 6× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| IIImaj7 | Dmaj7 | Relative major — the bright side | D · F# · A · C# | 5× |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 13× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 13× |
| 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# | 2× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 7× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 46 times in total; 6 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 A Dii7 → Vii → V Bmiv7 → VII ×6
- A Dmaj7 DV → Imaj7authentic cadence BmVII → IIImaj7 ×5
- F#m7 Bm7 Diii7 → vi7 Bmv7 → i7natural-minor cadence ×5
- Em7 Bm7 Dii7 → vi7 Bmiv7 → i7minor plagal ×1
- Gmaj7 A DIVmaj7 → VIV → V BmVImaj7 → VIIVI → VII ×1
The move to watch is Em7 → A, heard 6 times. From the Bm side it is iv7 → VII; from the D side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 F#m7, land on F#, A, C# — 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.
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
Starting on Em7, the song gives away its key from the very first bar. Em7, F#m7, A, Bm7 carry the song: ii7–iii7–V–vi7 relative to D, iv7–v7–VII–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 → A (ii7 → V in D, iv7 → VII in Bm): ii → V — the classic preparation of the dominant. The final chord is Bm7; the ear comes to rest in Bm.
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.
Oğuzhan Koç - Bi Mani Yoksa 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: Oğuzhan KoçMusic: Oğuzhan KoçArrangement: Çağrı Telkıvıran
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