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)
Ebru Gündeş - Oku Canıma - Chord
Key B major – G# minor Chords D#m, E, C#m, G#m7, G# Easy key C
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Key: B | Abm | G#m
Capo: 0
D#m E D#m
Geceden sabaha çoktan geçti saat
E C#m D#m G#
Emin ol afiyete hevesli sıhhat
C#m
Çalsın arabesk kemanlar susmasın
D#m E
Sarmalansın buzlu anasonla acım
G#m7 D#m E C#m
Aç içimdeki sandıkları dök ortaya
D#m E C#m D#m
Kıy gitsin unut kimdim oku canıma
G#m7 D#m E C#m D#m E C#m D#m
D#m E D#m
Yıkandım geçmiyor al tenini beyim
E C#m D#m G#
Özledim dudaklarının şerbetini
C#m
Sussun arabesk kemanlar çalmasın
D#m E
Çabuk kabullenmiyor kalp üveyliğini
G#m7 D#m E C#m
Aç içimdeki sandıkları dök ortaya
D#m E C#m D#m
Kıy gitsin unut kimdim oku canıma
End of song Play again?
Ebru Gündeş - Oku Canıma Tabs
NotesX
Harmony analysis
Ebru Gündeş – Oku Canıma: key and chord analysis
The song opens on D#m and ends on D#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: to us the song feels closer to the G# minor side because G#m is heard 3 times while B never appears. 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# | 10× |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | 17× |
| 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 | 12× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| vi7 | G#m7 | Relative minor — the melancholy side | G# · B · D# · F# | 3× |
| V/ii | G# | Secondary dominant V/ii — leads to C#msecondary dominant | G# · B# · D# | 2× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | G#m7 | Tonic — home | G# · B · D# · F# | 3× |
| V/iv | G# | Secondary dominant V/iv — leads to C#msecondary dominant | G# · B# · D# | 2× |
| 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# | 10× |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | 17× |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VI | E | Submediant — warm colour | E · G# · B | 12× |
| 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; 4 of them sit naturally inside the shared scale. G# acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- E G#m7 BIV → vi7 G#mVI → i7VI → i ×2
- D#m G#m7 Biii → vi7 G#mv → i7natural-minor cadence ×1
The move to watch is E → G#m7, heard 2 times. From the G#m side it is VI → i7 (VI → i: falls a half step into home); from the B side it reads IV → vi7. 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over C#m, land on C#, E, G# — 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 D#m lays a solid floor for everything that follows. The chords that keep coming back are D#m, E, C#m, G#m7; read them as iii–IV–ii–vi7 in B or v–VI–iv–i7 in G#m. G# adds a moment of surprise: secondary dominant V/ii — leads to C#m. Keep an ear on E → G#m7 (IV → vi7 in B, VI → i7 in G#m): VI → i — falls a half step into home. It closes on D#m, 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.
Ebru Gündeş - Oku Canıma 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: SılaMusic: Sıla
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