Şekersiz - İmkansız Bir Aşk Denir - Chord

Key B major – G# minor Chords Emaj7, Ebm7, Dbm7, Bmaj7, Ebm Easy key C

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Capo 0

Emaj7  Ebm7  Emaj7  Ebm7  Emaj7  Ebm7  Dbm7  Bmaj7

          Emaj7              Ebm7
Milyon yıldız içinde soluk mavi bir nokta
        Emaj7               Ebm7
Yaşamak güçleşiyor neler açtın başıma
         Emaj7              Ebm7
Anlatsam şu derdimi küçücük çocuklara
       Dbm7                Bmaj7
Baya gülerler ama olsun belki iyi gelir

          Emaj7               Ebm7
Görmem sanmıştım seni yanında o adamla
           Emaj7                   Ebm7
Gündüz bir şey hissetmedim, gece bıçak karnıma
         Emaj7             Ebm7
Benim de elimi bir başkası tutabilir
        Dbm7               Bmaj7
Beraber verdiğimiz sözleri kim ne bilir

Emaj7  Ebm7  Emaj7  Ebm7  Emaj7  Ebm7  Dbm7  Bmaj7

         Emaj7                 Ebm7
Deli bir şey yapmanın fikri girdi aklıma
        Emaj7                   Ebm7
Madem sana söylediğim her şey gider boşluğa
          Emaj7             Ebm7
Yazsam bu hikayeyi alsam gömsem toprağa
          Dbm7                 Bmaj7
Yıllar sonra bulunur, imkansız bir aşk, denir

Emaj7        Ebm7
İmkansız bir aşk, denir

Emaj7        Ebm
İmkansız bir aşk, denir

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Harmony analysis

Şekersiz – İmkansız Bir Aşk Denir: key and chord analysis

The song opens on Emaj7 and ends on Ebm. Its chords belong to both B major and G#m, so every chord below is read both ways.

Major view

B major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A# (leading tone, pulls home)
4 = E (the note that leans on the 3rd)

Minor view

G# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = E (the minor's melancholy)
b7 = F# (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the B major side because B is heard 5 times while G#m never appears. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to B or to G#m; 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 B major
Degree	Chord	Role	Notes	In song
Imaj7	Bmaj7	Tonic — home	B · D# · F# · A#	5×
ii7	Dbm7	Supertonic — prepares the dominant	Db · Fb · Ab · Cb	5×
iii7	Ebm7	Mediant — a tonic-family shade	Eb · Gb · Bb · Db	16×
iii	Ebm	Mediant — a tonic-family shade	Eb · Gb · Bb	1×
III	D#	Chromatic colour chordoutside the key	D# · G · A#	—
IVmaj7	Emaj7	Subdominant — moves away from home	E · G# · B · D#	17×
V	F#	Dominant — strongest pull home	F# · A# · C#	—
vi	G#m	Relative minor — the melancholy side	G# · B · D#	—
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	G#m	Tonic — home	G# · B · D#	—
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
IIImaj7	Bmaj7	Relative major — the bright side	B · D# · F# · A#	5×
iv7	Dbm7	Subdominant — moves away from home	Db · Fb · Ab · Cb	5×
v7	Ebm7	Minor dominant — soft pull	Eb · Gb · Bb · Db	16×
v	Ebm	Minor dominant — soft pull	Eb · Gb · Bb	1×
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	—
VImaj7	Emaj7	Submediant — warm colour	E · G# · B · D#	17×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	—

Analysis

The key pair is B major and its relative G# minor (5 sharps). 5 different chords appear 44 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

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

B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
Over Emaj7, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Dbm7, land on Db, Fb, Ab — 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 B major shapes

Capo 2 + A shapes
Capo 4 + G shapes
Capo 7 + E shapes

With G# minor shapes

Capo 4 + Em shapes
Capo 6 + Dm shapes

Easiest keys on guitar

1 semitone up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The opening Emaj7 lays a solid floor for everything that follows. Emaj7, Ebm7, Dbm7, Bmaj7 carry the song: IVmaj7–iii7–ii7–Imaj7 relative to B, VImaj7–v7–iv7–IIImaj7 relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Ebm, letting the B 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.