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)
Mero - Uçurum - Chord
Key D major – B minor Chords F#m7, Bm7, Bm Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm7 Bm7 F#m7 F#m7
Bm
Bana sorsaydın, "Nerelerdeydin?"
F#m7
Kendi başıma bi' uçurumdaydım
Bm7
Dertler bitmiyo', sabrım tükeniyo' ve ben
F#m7
Yine dönmem sonu ölüm olsaydı
Bm7
Bana sorsaydın, "Nerelerdeydin?" (Ah)
F#m7
Kendi başıma bi' uçurumdaydım
Bm7
Dertler bitmiyo', sabrım tükeniyo' ve ben
F#m7
Yine dönmem sonu ölüm olsaydı
Bm7 Bm7 F#m7 F#m7
(Tüm şarkı boyunca aynı akordöngüsü devam eder)
Her günüm yine ayrı bi' dert
Kimi dost, kimi düşman, kimi namert (Ha)
Savaşalım, bizde bu âdet
Son sözümüz kelimeişehadet
Geldiğim yeri unutmam
Yerini söyle, deme bana "Buluşmam"
Konum at, gelice'm, bеlime taktım emanetimi
Bro, güvеnmem de kimseye (Brr)
Kolay değil de bu yükü taşımak, ıh
Hayatım uzun bi' basamak, ıh (Ha)
Enes olup, MERO gibi yaşamak
Her zaman başımız dik, alnımız ak, ıh
Doch heute will ich nur frei sein (Frei sein)
Frei von diesem Highlife (Heh)
Patte kommt, Patte geht
So viel ist passiert, trust me, Mero bleibt gleich
Sorma, beni bana bırak
Gözlerinin içi ölüm gibi, göremedin
Nası' olabilir?
Bi' ateşin ortasında yanar gibi, ölemedin
Şükür ederim Rabb'ime (Ha)
Çare var mı? Nafile
Yüzüme bakmak değil senin haddine
Kaçır gözlerini, yoluna bak yine (Pu-pu-pu-pu)
Turla her yanını sokaklar
Kalbimi vur orta yerinden
Bi' yanım sen, gerisi bilinmez
Gelecek parlak hep seninle, ah (Brr)
Hab' so viel im Kopf
Hinterlass' meiner Fam ein Vermögen, wenn ich nicht wiederkomm', heh
Alles kommt hoch, immer wenn ich nachdenk', bin allein im siebten Stock, heh
Und irgendwann kommt der Tod mich hol'n
Ja, ich frag' mich, ob sich's lohnt, alles geschrieben, Gott ist groß
Bm7
Sorma, beni bana bırak
F#m7
Gözlerinin içi ölüm gibi, göremedin
Bm7
Nası' olabilir?
F#m7
Bi' ateşin ortasında yanar gibi, ölemedin
Bm
Bana sorsaydın, "Nerelerdeydin?"
F#m7
Kendi başıma bi' uçurumdaydım
Bm7
Dertler bitmiyo', sabrım tükeniyo' ve ben
F#m7
Yine dönmem sonu ölüm olsaydı
Bm7
Bana sorsaydın, "Nerelerdeydin?" (Ah)
F#m7
Kendi başıma bi' uçurumdaydım
Bm7
Dertler bitmiyo', sabrım tükeniyo' ve ben
F#m7
Yine dönmem sonu ölüm olsaydı
End of song Play again?
Mero - Uçurum Tabs
NotesX
Harmony analysis
Mero – Uçurum: key and chord analysis
The song opens on Bm7 and ends on F#m7. 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 opens on Bm and Bm is heard 14 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 | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 14× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 12× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 2× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 12× |
| i | Bm | Tonic — home | B · D · F# | 2× |
| 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 | — |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 14× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | — |
| 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). 3 different chords appear 28 times in total; 3 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#m7 Bm7 Diii7 → vi7 Bmv7 → i7natural-minor cadence ×9
- F#m7 Bm Diii7 → vi Bmv7 → inatural-minor cadence ×2
The move to watch is F#m7 → Bm7, heard 9 times. From the Bm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the D side it reads iii7 → 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 F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — 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
- 3 semitones up
The song's harmonic story
The first chord is Bm7; the ear learns where home is within a second. The chords that keep coming back are F#m7, Bm7, Bm; read them as iii7–vi7–vi in D or v7–i7–i in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m7 → Bm7 (iii7 → vi7 in D, v7 → i7 in Bm): natural-minor cadence — gentle, modal arrival. The final chord is F#m7; 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.
Mero - Uçurum 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: Mero
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