Sancak - Hoşça Kal - Chord

Key D major – B minor Chords Em, G, Bm, F# Easy key C (capo 2)

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Capo 0

Bm   Em  G  F#
Off off
Bm   Em  G  F#
Off off

Bm                Em
Yağmurlar yağmış gökyüzünden
G                  F#
Ben üşümüyorum ya sen
Bm              Em
Topraklar dayanmaz yerinden
G                    F#
Kalk yanıma gel bu sefer

Bm                Em
Korkma sen yerine kimse gelmedi
G              F#
Ben hala seviyorum
Bm              Em
Hoşca kal beni düşünme
G                    F#
Ölmedin aslında biliyorum

  Bm                            Em
Bakınca camdan ne kar ne yağmurlar aksın
               G       F#
Yokluğunsa yağsın yüzüme 
  Bm                              Em
Görünce karşımda bir sana bir ona baktım
            G        F#
Aktı gözlerimden içime
Bm   Em
Off off
    G                             F#
Ne kadar yalanmış ilk geldiğinde yanıma
Bm   Em
Off off
G                          F#
Ölmemi dile dokunmaktan sakınamam

Bm                    Em
Şimdi gördüğüm o düşler yok
Em              G
Tuttuğum eller yok
G                     F#
Ölmek isterdim sana sarıla sarıla
Bm                   Em
Artık kokun yok üstümde
Em           G              F#
Sarılıp göğsünde ölmek isterdim

Bm   Em   G    F#

Bugün son defa öldürüyorum yazarak seni
Onlarca kez ölmüş dediler hakkında senin
Bugün son defa katlanıyorum söylenenlere
Çünkü iyi geliyor öldü denip böyle bilinmesi
Bugün son defa karşılaştık ummadık yerde
Oysa kaç şehir değiştirdim ve çıkmadım evden
Bugün son defa gülümsüyorum haketmesende
Bugün ilk defa başka birine gülümsemeni görüyorum
Demek ki bitermişiz herkes gibi
Demek ki bu şehri değil dünyayı terketmeli
Sırtımda bıçak izleri bilirsin
Yıllarca geçmedi varsın bilsin yanındaki
Sanki tanımamış gibi sen ne kadar saplasanda
Acıtmayan kadın 
Öldükten sonra bile kendime gülmeyi yasakladım bak
Yine de kızmıyorum unuttum bile öldürdüm seni
Şimdi mezarda değil onunla yatmaktasın

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Sancak - Hoşça Kal Tabs

NotesX

Harmony analysis

Sancak – Hoşça Kal: key and chord analysis

The song opens on Bm and ends on F#. 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: to us the song feels closer to the B minor side because it opens on Bm, Bm is heard 13 times while D never appears and the major V chord points straight at Bm. 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii	Em	Supertonic — prepares the dominant	E · G · B	15×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	13×
IV	G	Subdominant — moves away from home	G · B · D	14×
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	13×
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#	13×
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	15×
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#	13×
VI	G	Submediant — warm colour	G · B · D	14×
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). 4 different chords appear 55 times in total; 3 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.

Chord movement

F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×12

The move to watch is F# → Bm, heard 12 times. From the Bm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V/vi → 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over Bm, land on B, D, F# — 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.

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

The opening Bm lays a solid floor for everything that follows. Em, G, Bm, F# carry the song: ii–IV–vi–V/vi relative to D, iv–VI–i–V relative to Bm. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F# → Bm (V/vi → vi in D, V → i in Bm): harmonic-minor cadence — the major V resolves dramatically. The final chord is F#; the ear comes to rest in D.

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.