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)
Cem Karaca - Tamirci Çırağı - Chord
Key B major – G# minor Chords D#m, G#m, F#, E, D# Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: B | Abm | G#m
Capo: 0
D#m G#m D#m Gönlüme bir ateş düştü yanar ha yanar yanar G#m F# E D#m Ümit gönlümün ekmeği umar ha umar umar D#m G#m D#m Elleri ak yumuk yumuk ojeli tırnakları G#m F# E D#m Nerelere gizlesin şu avcun nasırları G#m Otomobili tamire geldi dün bizim tamirhaneye F# Görür görmez vurularak başladım ben sevmeye E Ayağında uzun etek dalga saçları G#m F# E D#m Ustam seslendi uzaktan oğlum al takımları D#m G#m D#m Bir romanda okumuştum buna benzer bir şeyi G#m F# E D#m Cildi parlak kağıt kaplı pahalı bir kitaptı D#m G#m D#m Ne olmuş nasıl olmuşsa aşık olmuştu genç kız G#m F# E D#m Yine böyle bir durumda tamirci çırağına G#m Ustama dedim ki bugün giymeyim tulumları F# Arkası puslu aynamda taradım saçlarımı E Gelecekti bugün geri arabayı almaya G#m F# E D#m O romandaki hayali belki gerçek yapmaya D#m G#m D#m Durdu zaman durdu dünya girdi içeri kapıdan G#m F# E D#m Öylece bakakaldım gözümü ayırmadan D#m G#m D#m Arabanın kapısını açtım açtım girsin içeri G#m F# E D#m Kalktı hilal kaşları sordu kim bu serseri G#m Çekti gitti arabayla egzosuna boğuldum F# Gözümde tonurcuk yaşlar ağır ağır doğruldum E Ustam geldi sırtıma vurdu unut dedi romanları G#m F# E D#m İşçisin sen işçi kal giy dedi tulumları G#m F# E D# İşçisin sen işçi kal işçisin sen işçi kal
End of song Play again?
Cem Karaca - Tamirci Çırağı Tabs
NotesX
Harmony analysis
Cem Karaca – Tamirci Çırağı: key and chord analysis
The song opens on D#m and ends on D#. 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)
- #7 = G (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 G# minor side because G#m is heard 19 times while B never appears and the major V chord points straight at G#m. That is an interpretation, not a rule — the same chords are just as valid seen from B 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 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# | — |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | 21× |
| V/vi | D# | Secondary dominant V/vi — leads to G#msecondary dominant | D# · G · A# | 1× |
| IV | E | Subdominant — moves away from home | E · G# · B | 13× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 13× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 19× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 19× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | — |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | 21× |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | 1× |
| VI | E | Submediant — warm colour | E · G# · B | 13× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 13× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 5 different chords appear 67 times in total; 4 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same D# is V/vi, a secondary dominant heading for G#m.
Chord movement
- D#m G#m Biii → vi G#mv → inatural-minor cadence ×16
- E G#m BIV → vi G#mVI → iVI → i ×3
The move to watch is D#m → G#m, heard 16 times. From the G#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the B side it reads iii → vi. 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 D#m, land on D#, F#, A# — 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.
- Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- When D# comes, swap the scale's F# for G: 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 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
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The first chord is D#m; the ear learns where home is within a second. D#m, G#m, F#, E carry the song: iii–vi–V–IV relative to B, v–i–VII–VI relative to G#m. D# is the interesting twist: in B it is a chromatic chord (V/vi), while in G#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D#m → G#m (iii → vi in B, v → i in G#m): natural-minor cadence — gentle, modal arrival. The final chord is D#; the ear comes to rest in B.
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.
Cem Karaca - Tamirci Çırağı 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Cem KaracaMusic: Cem Karaca
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.