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)
Serkan Nişancı - Eller Üzer - Chord
Key D major – B minor Chords F#m, Gmaj7, A, Bm, Em, B, G Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Gmaj7 F#m Gmaj7 F#m
Bm
Bak getirdi kader bizi oyuna
A B
Ölmeye hazırken yoluna
F#m
Bizi anlatır dururum
A
Kadehim dolu kalkıyor yok oluşuna
Gmaj7 F#m
Ama aldırma durulurum
Gmaj7
Yerlere düşse yine gururum
Bulurum bir çaresini
Em Bm
Belki de kaybolurum, beni boş ver sen
Bm A Gmaj7
Eller üzer seni dayanamazsın
F#m
Bu dünyayı tanıyamazsın
A
Hiç hazır değil ki duyguların
Gmaj7
O kötü kalpleri taşıyamazsın
F#m Em
Ben seni öpmelere kıyamadım
F#m
O yeşil gözlerine doyamadım
A
Bu kaderin benimle inadı
Em Bm
Beni boş ver, anlayamazsın
Bm Bm A Gmaj7 Gmaj7 F#m F#m A A Gmaj7 Gmaj7 Em Em F#m A
A F#m
Ama aldırma durulurum
G
Yerlere düşse yine gururum
Bulurum bir çaresini
Em Bm
Belki de kaybolurum, beni boş ver sen
Bm A Gmaj7
Eller üzer seni dayanamazsın
F#m
Bu dünyayı tanıyamazsın
A
Hiç hazır değil ki duyguların
Gmaj7
O kötü kalpleri taşıyamazsın
F#m Em
Ben seni öpmelere kıyamadım
Gmaj7 F#m
O yeşil gözlerine doyamadım
A
Bu kaderin benimle inadı
Em Bm
Beni boş ver, anlayamazsın
x2
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Serkan Nişancı - Eller Üzer Tabs
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Harmony analysis
Serkan Nişancı – Eller Üzer: key and chord analysis
The song opens on Gmaj7 and ends on Bm. 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 9 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 | 8× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 14× |
| 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# | 13× |
| IV | G | Subdominant — moves away from home | G · B · D | 1× |
| V | A | Dominant — strongest pull home | A · C# · E | 13× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 9× |
| V/ii | B | Secondary dominant V/ii — leads to Emsecondary dominant | B · D# · F# | 1× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 9× |
| V/iv | B | Secondary dominant V/iv — leads to Emsecondary dominant | B · D# · F# | 1× |
| 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 | 8× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 14× |
| 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# | 13× |
| VI | G | Submediant — warm colour | G · B · D | 1× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 13× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 59 times in total; 6 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Em Bm Dii → vi Bmiv → iminor plagal ×4
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×1
The move to watch is Em → Bm, heard 4 times. From the Bm side it is iv → i (minor plagal: deep and melancholic); from the D side it reads ii → vi. 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#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Gmaj7, land on G, B, D — 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 Gmaj7, the song gives away its key from the very first bar. F#m, Gmaj7, A, Bm carry the song: iii–IVmaj7–V–vi relative to D, v–VImaj7–VII–i relative to Bm. B adds a moment of surprise: secondary dominant V/ii — leads to Em. Keep an ear on Em → Bm (ii → vi in D, iv → i in Bm): minor plagal — deep and melancholic. It closes on Bm, 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.
Serkan Nişancı - Eller Üzer 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: Yiğit Mahzuni Music: Yiğit Mahzuni Arrangement: Süleyman Leylek
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