Mor ve Ötesi - Serseri - Chord

Key D major – B minor Chords G, F#m, A, E, D, B, C#, F … Easy key C (capo 2)

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Capo 0

F#m    G          A
Uzağındaydım düşerken
A           G     F#m
Nasıl bilirsen öyle ol
F#m       G          A
Kabusum oldun çok oldun
A         E   F  E    D   
İyi ki yarına yoksun

      E       F#m        C#m          D 
Düşledim kayboldun, konuştum ziyan oldum
     E        F#m           G        D
Eskinin huzurunda el pençe divan durdum
    E        F#m            C#         D
Ah, devrimim benim, nedir senden çektiğim
    E            F#           F#m
Sen gelmedin ama ben değiştim

F#m       G          A
Hayat ne boş ne anlamsız        
A        G          F#m     
Neye benzerdi reklamsız          
F#m     G            A           
Ortağım oldun çok oldun        
A      E   F   E    D         
İyi ki yarına yoksun

D    C#   G   B  
F#m  G#   B   G

F#m              G             A             G
Aldım verdim ben seni yendim, kaçtın sattın beş paraya sattın 
F#m              G             A             G
Aldım verdim ben seni yendim, kaçtın sattın beş paraya sattın 
D            C#                G             B
Aldım verdim ben seni yendim, kaçtın sattın beş paraya sattın
F#m          G#                B             G 
Aldım verdim ben seni yendim, kaçtın sattın beş paraya sattın

F#m   G        D     D# 
   Ağla, ağla, geçer

End of song Play again?

Mor ve Ötesi - Serseri Tabs

NotesX

Harmony analysis

Mor ve Ötesi – Serseri: key and chord analysis

The song opens on F#m and ends on D#. 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)
#7 = A# (harmonic-minor leading tone from the V chord)

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 because D is heard 8 times while Bm never appears and the major V chord points straight at Bm. 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	8×
bII	D#	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	D# · G · A#	1×
ii	Em	Supertonic — prepares the dominant	E · G · B	—
V/V	E	Secondary dominant V/V — leads to Asecondary dominant	E · G# · B	8×
bIII	F	Borrowed from the parallel minorborrowed chord	F · A · C	2×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	15×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	1×
IV	G	Subdominant — moves away from home	G · B · D	16×
#IV	G#	Chromatic colour chordoutside the key	G# · B# · D#	2×
V	A	Dominant — strongest pull home	A · C# · E	10×
vi	Bm	Relative minor — the melancholy side	B · D · F#	—
V/ii	B	Secondary dominant V/ii — leads to Emsecondary dominant	B · D# · F#	4×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—
V/iii	C#	Secondary dominant V/iii — leads to F#msecondary dominant	C# · E# · G#	3×
vii	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	—
V/iv	B	Secondary dominant V/iv — leads to Emsecondary dominant	B · D# · F#	4×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
V/v	C#	Secondary dominant V/v — leads to F#msecondary dominant	C# · E# · G#	3×
ii	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×
III	D	Relative major — the bright side	D · F# · A	8×
#III	D#	Chromatic colour chordoutside the key	D# · G · A#	1×
iv	Em	Subdominant — moves away from home	E · G · B	—
IV	E	Major IV — Dorian / melodic-minor colourmodal colour	E · G# · B	8×
#IV	F	Chromatic colour chordoutside the key	F · A · C	2×
v	F#m	Minor dominant — soft pull	F# · A · C#	15×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	1×
VI	G	Submediant — warm colour	G · B · D	16×
#VI	G#	Chromatic colour chordoutside the key	G# · B# · D#	2×
VII	A	Subtonic — steps back to the tonic	A · C# · E	10×

Analysis

The key pair is D major and its relative B minor (2 sharps). 12 different chords appear 71 times in total; 4 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F# is V/vi, a secondary dominant heading for Bm. E, B, C# act as secondary dominants, briefly pointing at another chord of the key. F, D# are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G A DIV → VIV → V BmVI → VIIVI → VII ×6
G D DIV → Iplagal cadence BmVI → III ×3

The move to watch is G → A, heard 6 times. From the D side it reads IV → V (IV → V: the lift that builds tension before home); from the Bm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — 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.
When F# comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
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

2 semitones down · capo 2 keeps the original pitch
3 semitones up

The song's harmonic story

The opening F#m lays a solid floor for everything that follows. The chords that keep coming back are G, F#m, A, E; read them as IV–iii–V–V/V in D or VI–v–VII–IV in Bm. B is the interesting twist: in D it is a chromatic chord (V/ii), while in Bm it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on G → A (IV → V in D, VI → VII in Bm): IV → V — the lift that builds tension before home. It closes on D#, letting the D 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.