Gökhan Türkmen - Yalan - Chord

Key B major – G# minor Chords Emaj7, Bmaj7, F#, D#m7, G#m7, C#m7, C#m Easy key C

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Capo 0

Emaj7  Bmaj7  Emaj7  Bmaj7

Emaj7
Duvarlarda kaldı resmin
    Bmaj7      F#
Gitti giden; talan
      Emaj7
Sessizlikten vazgeçsen
         Bmaj7      F#
Bilirim her sözün, yalan

Emaj7
Yalanlardan bıkanlardan
       Bmaj7       F#
Sonsuz o eski masallardan
Emaj7
Bilirim dönemez kimse
     Bmaj7      F#
O yollarda kalanlardan

Emaj7       F#
Olsun, günahım olsun
G#m7           Bmaj7
Varsın, benden vazgeçsin
Emaj7            D#m7
Görsün, düşmek nedir görsün
C#m7          D#m7
Bilsin, bende hala bitmedi
x2

Emaj7  F#  G#m7  Bmaj7
la la la la la la la la
Emaj7  D#m7  C#m  D#m7
la la la la la la la la

     Emaj7
Yalanlardan susanlardan
     D#m7            F#
Yoruldum o eski masallardan
Emaj7
Bilirsin dönemez kimse
      D#m7        F#
Ben değil ki o yollardan

Emaj7       F#
Olsun, günahım olsun
G#m7           Bmaj7
Varsın, benden vazgeçsin
Emaj7            D#m7
Görsün, düşmek nedir görsün
C#m7          D#m7
Bilsin, bende hala bitmedi
x2

Emaj7  F#  G#m7  Bmaj7
la la la la la la la la
Emaj7  D#m7  C#m  D#m7
la la la la la la la la

End of song Play again?

Gökhan Türkmen - Yalan Tabs

NotesX

Harmony analysis

Gökhan Türkmen – Yalan: key and chord analysis

The song opens on Emaj7 and ends on D#m7. Its chords belong to both B major and G#m, so every chord below is read both ways.

Major view

B major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A# (leading tone, pulls home)
4 = E (the note that leans on the 3rd)

Minor view

G# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = E (the minor's melancholy)
b7 = F# (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the B major side because B is heard 10 times against 4 for G#m. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to B or to G#m; 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 B major
Degree	Chord	Role	Notes	In song
Imaj7	Bmaj7	Tonic — home	B · D# · F# · A#	10×
ii7	C#m7	Supertonic — prepares the dominant	C# · E · G# · B	2×
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	2×
iii7	D#m7	Mediant — a tonic-family shade	D# · F# · A# · C#	10×
V/vi	D#	Secondary dominant V/vi — leads to G#msecondary dominant	D# · G · A#	—
IVmaj7	Emaj7	Subdominant — moves away from home	E · G# · B · D#	16×
V	F#	Dominant — strongest pull home	F# · A# · C#	10×
vi7	G#m7	Relative minor — the melancholy side	G# · B · D# · F#	4×
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i7	G#m7	Tonic — home	G# · B · D# · F#	4×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
IIImaj7	Bmaj7	Relative major — the bright side	B · D# · F# · A#	10×
iv7	C#m7	Subdominant — moves away from home	C# · E · G# · B	2×
iv	C#m	Subdominant — moves away from home	C# · E · G#	2×
v7	D#m7	Minor dominant — soft pull	D# · F# · A# · C#	10×
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	—
VImaj7	Emaj7	Submediant — warm colour	E · G# · B · D#	16×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	10×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 7 different chords appear 54 times in total; 7 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

Emaj7 Bmaj7 BIVmaj7 → Imaj7plagal cadence G#mVImaj7 → IIImaj7 ×6
F# G#m7 BV → vi7deceptive cadence G#mVII → i7Aeolian arrival ×4
Emaj7 F# BIVmaj7 → VIV → V G#mVImaj7 → VIIVI → VII ×4

The move to watch is Emaj7 → Bmaj7, heard 6 times. From the B side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the G#m side it is VImaj7 → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
Over Emaj7, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over Bmaj7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over F#, 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 B major shapes

Capo 2 + A shapes
Capo 4 + G shapes
Capo 7 + E shapes

With G# minor shapes

Capo 4 + Em shapes
Capo 6 + Dm shapes

Easiest keys on guitar

1 semitone up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

Starting on Emaj7, the song gives away its key from the very first bar. Emaj7, Bmaj7, F#, D#m7 carry the song: IVmaj7–Imaj7–V–iii7 relative to B, VImaj7–IIImaj7–VII–v7 relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Emaj7 → Bmaj7 (IVmaj7 → Imaj7 in B, VImaj7 → IIImaj7 in G#m): plagal cadence — the soft 'amen' ending. Ending on D#m7, the song seals B 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.