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)
Mor ve Ötesi - Bırakmazlar Yakamı - Chord
Key B major – G# minor Chords E, C#, G#m, F#, B, C#m, A#dim Easy key G (capo 4)
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Key: B | Abm | G#m
Capo: 0
B C#m E E B F# C# C# C#m
G#m C# F# C#
Hemen şimdi kalksam burdan
A#dim F# E
Koşup çıksam sokaklara
G#m C# F# C#
Birini duysam birine vursam
A#dim F# E
Ölümcül bir dost düşse peşime
E G#m B
Bırakmazlar yakamı bilirim
C# E
Kaybolsam da
G#m B
Bırakmazlar yakamı bilirim
C# C#m
Saklansam
G#m C# F# C#
Hemen şimdi kaçıp gitsem
A#dim F# E
Sürüklensem meydanlarda
G#m C# F# C#
Bulsam seni masallarda
A#dim F# E
Gökten düşen yine aynı elmalar
E G#m B
Bırakmazlar yakamı bilirim
C# E
Kaybolsam da
G#m B
Bırakmazlar yakamı bilirim
C# C#m
Saklansam
E F# G#m
Kaybolsam, saklanmsam da ben
E G#m
İsimsiz sokaklarda
E G#m E G#m
E G#m
Unutsam tüm masalları
E F# G#m
Karışsam meydanlara
Meydanlara
Meydanlara
Meydanlara
Meydanlara
E G#m B
Bırakmazlar yakamı bilirim
C# E
Kaybolsam da
G#m B
Bırakmazlar yakamı bilirim
C#
Saklansam
C# C#m
Saklansam
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Harmony analysis
Mor ve Ötesi – Bırakmazlar Yakamı: key and chord analysis
The song opens on B and ends on C#m. Its chords belong to both B major and G#m, so every chord below is read both ways.
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: we can't honestly pick a side here — the song moves freely between B major and G# minor because it opens on B and G#m is heard 16 times against 8 for B. 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | 8× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | 5× |
| V/V | C# | Secondary dominant V/V — leads to F#secondary dominant | C# · E# · G# | 17× |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| V/vi | D# | Secondary dominant V/vi — leads to G#msecondary dominant | D# · G · A# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | 18× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 11× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 16× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 16× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | 4× |
| III | B | Relative major — the bright side | B · D# · F# | 8× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | 5× |
| IV | C# | Major IV — Dorian / melodic-minor colourmodal colour | C# · E# · G# | 17× |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | — |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VI | E | Submediant — warm colour | E · G# · B | 18× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 11× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 7 different chords appear 79 times in total; 6 of them sit naturally inside the shared scale. C# acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- E G#m BIV → vi G#mVI → iVI → i ×12
- C#m G#m Bii → vi G#miv → iminor plagal ×2
- F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×2
- E F# BIV → VIV → V G#mVI → VIIVI → VII ×2
- E B BIV → Iplagal cadence G#mVI → III ×1
The move to watch is E → G#m, heard 12 times. From the B side it reads IV → vi; from the G#m side it is VI → i (VI → i: falls a half step into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over C#, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
- Over G#m, land on G#, B, D# — 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
- 4 semitones down · capo 4 keeps the original pitch
- 3 semitones up
The song's harmonic story
The first chord is B; the ear learns where home is within a second. The backbone is E, C#, G#m, F# — IV–V/V–vi–V from the B side, VI–IV–i–VII from the G#m side. C# adds a moment of surprise: secondary dominant V/V — leads to F#. Keep an ear on E → G#m (IV → vi in B, VI → i in G#m): VI → i — falls a half step into home. Ending on C#m, the song seals B 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.
Mor ve Ötesi - Bırakmazlar Yakamı Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Harun TekinMusic: Harun Tekin
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