Ferdi Tayfur - Yaktı Beni - Chord

Key D major – B minor Chords E, Dm, Am, F Difficulty already in its easiest key

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Am          E           F         Dm  E
Yaktı beni, yaktı beni, yaktı benii,  yaktı beni

Am                E
Gözlerinin karası oldu yürek yarası
F        Dm       E
Bu gönül macerası yaktı beni

Am                E
Gözlerinin karası oldu yürek yarası
F                Dm     E
Bu gönül macerası yaktı beni

E                        Dm
Ne oldu Allah ım ne oldu arayıp beni buldu
Am     Dm         E
Oda senin kulundu yaktı beni

Am          E           F         Dm  E
Yaktı beni, yaktı beni, yaktı benii,  yaktı beni

Am                E
Sarılıp öptü beni etmişti aşk yemini
F        Dm        E
Görmedim böylesini yaktı beni

E                        Dm
Ne oldu Allah ım ne oldu arayıp beni buldu
Am     Dm         E
Oda senin kulundu yaktı beni

Am          E           F         Dm  E
Yaktı beni, yaktı beni, yaktı benii,  yaktı beni

End of song Play again?

Ferdi Tayfur - Yaktı Beni Tabs

NotesX

Harmony analysis

Ferdi Tayfur – Yaktı Beni: key and chord analysis

The song opens on Am and ends on E. 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: we can't honestly pick a side here — the song moves freely between D major and B minor. Try reading the chords both ways and see which feels more like home to you.

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	—
i	Dm	Chromatic colour chordoutside the key	D · F · A	10×
ii	Em	Supertonic — prepares the dominant	E · G · B	—
V/V	E	Secondary dominant V/V — leads to Asecondary dominant	E · G# · B	16×
bIII	F	Borrowed from the parallel minorborrowed chord	F · A · C	6×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
III	F#	Chromatic colour chordoutside the key	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	—
V	A	Dominant — strongest pull home	A · C# · E	—
v	Am	Chromatic colour chordoutside the key	A · C · E	8×
vi	Bm	Relative minor — the melancholy side	B · D · F#	—
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	—
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iii	Dm	Chromatic colour chordoutside the key	D · F · A	10×
iv	Em	Subdominant — moves away from home	E · G · B	—
IV	E	Major IV — Dorian / melodic-minor colourmodal colour	E · G# · B	16×
#IV	F	Chromatic colour chordoutside the key	F · A · C	6×
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#	—
VI	G	Submediant — warm colour	G · B · D	—
VII	A	Subtonic — steps back to the tonic	A · C# · E	—
vii	Am	Chromatic colour chordoutside the key	A · C · E	8×

Analysis

The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 40 times in total; 0 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key. F is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.

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

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. The chords that keep coming back are E, Dm, Am, F; read them as V/V–i–v–bIII in D or IV–iii–vii–#IV in Bm. E adds a moment of surprise: secondary dominant V/V — leads to A. Ending on E, 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.