Fikri Karayel - Yorgunum Çok - Chord

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

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Capo 0

Bm
Bir an önce dursun her şey
        Em                   Bm
Bunları duymamış olayım hele senden
A                   Em
Boşa yarım kalmasın hayat
G                 Bm
Güçlükle kurduğum hayal

Bm
Baştan başlamak çok zor
Em                        Bm
Bazı şeyler kendiliğinden olur
A                Em
Yorma kendini bu kadar çok
G                  Bm
Burda herşey senin değil

Bm                        Em
Yorgunum çok, bana bunlar zor geliyor
   F#m
Herkesten çok
Bm                          Em
Tahammülüm yok, uzak durmak doğru geliyor
                         Bm
Ve senden böyle vazgeçiyorum

Bm  Bm  Em  F#m

Bm
Bu huzursuz haller nedir
Em              Bm
Yüzündeki kimin fikri
A                 Em
Sorma nedenini bu kadar çok
G                 Bm
İnsan kendinde bulmalı

Em                 Bm
Bir yola girdin mi hikayen başlar
Em              Bm
Şüpheci oldukça her şey yavaşlar
Em           Bm
Bir nefes al dertler geçsin
Em           F# 
İsteme bırak hayat versin

Bm                        Em
Yorgunum çok, bana bunlar zor geliyor
   F#m  
Herkesten çok
Bm                          Em
Tahammülüm yok, uzak durmak doğru geliyor
                         Bm
Ve senden böyle vazgeçiyorum

End of song Play again?

Fikri Karayel - Yorgunum Çok Tabs

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Harmony analysis

Fikri Karayel – Yorgunum Çok: key and chord analysis

The song opens on Bm and ends on Bm. 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 both starts and finishes on Bm, Bm is heard 20 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#	3×
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	3×
V	A	Dominant — strongest pull home	A · C# · E	3×
vi	Bm	Relative minor — the melancholy side	B · D · F#	20×
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#	20×
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#	3×
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	3×
VII	A	Subtonic — steps back to the tonic	A · C# · E	3×

Analysis

The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 45 times in total; 5 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

Em Bm Dii → vi Bmiv → iminor plagal ×8
G Bm DIV → vi BmVI → iVI → i ×3
F#m Bm Diii → vi Bmv → inatural-minor cadence ×3
F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×1
Em F# Dii → V/vi Bmiv → Viv → V ×1

The move to watch is Em → Bm, heard 8 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — 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.

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. Bm, Em, A, G carry the song: vi–ii–V–IV relative to D, i–iv–VII–VI 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 Em → Bm (ii → vi in D, iv → i in Bm): minor plagal — deep and melancholic. Ending on Bm, the song seals Bm 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.