Simge - Bekliyorum Hala - Chord

Key D major – B minor Chords Gmaj7, Bm7 Easy key G (capo 7)

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Capo 0

Gmaj7  Bm7  Gmaj7  Bm7

Gmaj7                                 Bm7
Bekledim geçmedi, yok bu yaraya bir çare
Gmaj7                             Bm7
Sonbahar bitmedi, ayazı vuruyor kalbe

Gmaj7                        Bm7
Neredesin? Kim bilir ve kiminle?
Gmaj7
Ben buradayım, hiçbir yere gitmedim
Bm7
Öldüm özleminle, kaldın ezberimde

Gmaj7
Bekliyorum hala
                            Bm7
Gelmeni bıraktığın yerdeyim ben hala
Gmaj7
Bekliyorum hala
                             Bm7
Tükenmedi umutlarım var az biraz olsa da

Gmaj7                              Bm7
Kırgınım, yorgunum, kızgınım, dargınım

Can yakan boşluğum, darbedir yokluğun
Gmaj7
Bedenime tenime şuuruma

Dünüme bugünüme yarınıma
Bm7
Geceme gündüzüme huzuruma

Düşüyorum bile bile tuzağına

Gmaj7                        Bm7
Neredesin? Kim bilir ve kiminle?
Gmaj7
Ben buradayım, hiçbir yere gitmedim
Bm7
Öldüm özleminle, kaldın ezberimde

Gmaj7
Bekliyorum hala
                            Bm7
Gelmeni bıraktığın yerdeyim ben hala
Gmaj7
Bekliyorum hala
                             Bm7
Tükenmedi umutlarım var az biraz olsa da

End of song Play again?

Simge - Bekliyorum Hala Tabs

NotesX

Harmony analysis

Simge – Bekliyorum Hala: 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.

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 comes to rest 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.

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	—
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
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#	14×
V	A	Dominant — strongest pull home	A · C# · E	—
vi7	Bm7	Relative minor — the melancholy side	B · D · F# · A	14×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i7	Bm7	Tonic — home	B · D · F# · A	14×
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#	—
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#	14×
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). 2 different chords appear 28 times in total; 2 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

Gmaj7 Bm7 DIVmaj7 → vi7 BmVImaj7 → i7VI → i ×14

The move to watch is Gmaj7 → Bm7, heard 14 times. From the Bm side it is VImaj7 → i7 (VI → i: falls a half step into home); from the D side it reads IVmaj7 → 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 Gmaj7, land on G, B, D — 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.

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

The first chord is Gmaj7; the ear learns where home is within a second. The backbone is Gmaj7, Bm7 — IVmaj7–vi7 from the D side, VImaj7–i7 from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gmaj7 → Bm7 (IVmaj7 → vi7 in D, VImaj7 → i7 in Bm): VI → i — falls a half step into home. It closes on Bm7, letting the Bm 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.