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 - Çırılçıplak - Chord
Key D major – B minor Chords F#m7, Em7, Bm7 Easy key C (capo 2)
No ratings yet
or your user informations
Make it yours
Text size
Key: D | Bm
Capo: 0
Bm7 F#m7 Em7 F#m7 Kaybettim beeen kendimi sana Bm7 F#m7 Em7 F#m7 Çırılçıplaaak geldim sana Bm7 F#m7 Em7 F#m7 x2 F#m7 Unutulur herkes inan Em7 F#m7 Sen de unutulursun İstemem ben bana kalsa Em7 F#m7 Ne ekmek ne bir yudum su Bm7 F#m7 Düşün beni düşün sabahlara kadar Em7 F#m7 Haram olsun bir gram uyku Bm7 F#m7 Yanıyorum ah yanıyorum Em7 F#m7 Bu nasıl duygu Bm7 F#m7 Em7 F#m7 Kaybettim beeen kendimi sana Bm7 F#m7 Em7 F#m7 Çırılçıplaaak geldim sana x2 Bm7 F#m7 Em7 F#m7 x2 Bm7 F#m7 Düşün beni düşün sabahlara kadar Em7 F#m7 Haram olsun bir gram uyku Bm7 F#m7 Yanıyorum ah yanıyorum Em7 F#m7 Bu nasıl duygu Bm7 F#m7 Em7 F#m7 Kaybettim beeen kendimi sana Bm7 F#m7 Em7 F#m7 Çırılçıplaaak geldim sana x2
End of song Play again?
Mert Demir - Çırılçıplak Tabs
NotesX
Harmony analysis
Mert Demir – Çırılçıplak: 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 12 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 | 14× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 27× |
| 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× |
| 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× |
| 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 | 14× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 27× |
| 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 53 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 ×11
The move to watch is F#m7 → Bm7, heard 11 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 Em7, land on E, G, B — 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening Bm7 lays a solid floor for everything that follows. F#m7, Em7, Bm7 carry the song: iii7–ii7–vi7 relative to D, v7–iv7–i7 relative to 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. Ending on F#m7, the song seals D 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 - Çırılçıplak 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
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.