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)
Ahmet Hatipoğlu - Hüzün Durağı (Irmak Arıcı) - Chord
Key B major – G# minor Chords F#, Emaj7, D#m7, G#m7, C#m7 Easy key C
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Key: B | Abm | G#m
Capo: 0
Emaj7 D#m7
Emaj7
Yok saymıştın beni
D#m7
Ben hala ordayım
Çok üzüldüm ardından
Emaj7
Düştüm zamanla
Ben sevmiştim seni
D#m7
Hüzün durağında
İndirdin attın sen
C#m7 G#m7 D#m7
Yolun yarısında
Emaj7
Seni kalbim ilah etti
F#
Taparken ben
G#m7 F#
Ziyan olduuum
Emaj7
Deli divaneydim
F# D#m7
Ki mahvettim kendimi
G#m7 F#
Harap olduum
Emaj7
İlah etti
F#
Taparken ben
G#m7 F#
Ziyan olduuum
Emaj7
Deli divaneydim
F# D#m7
Ki mahvettim kendimi
G#m7 F#
Harap olduum
Emaj7 F# G#m 7 F#
End of song Play again?
Ahmet Hatipoğlu - Hüzün Durağı (Irmak Arıcı) Tabs
NotesX
Harmony analysis
Ahmet Hatipoğlu – Hüzün Durağı (Irmak Arıcı): key and chord analysis
The song opens on Emaj7 and ends on F#. 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 5 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# | — |
| ii7 | C#m7 | Supertonic — prepares the dominant | C# · E · G# · B | 1× |
| iii7 | D#m7 | Mediant — a tonic-family shade | D# · F# · A# · C# | 6× |
| V/vi | D# | Secondary dominant V/vi — leads to G#msecondary dominant | D# · G · A# | — |
| IVmaj7 | Emaj7 | Subdominant — moves away from home | E · G# · B · D# | 7× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 8× |
| vi7 | G#m7 | Relative minor — the melancholy side | G# · B · D# · F# | 5× |
| 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# | 5× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | — |
| iv7 | C#m7 | Subdominant — moves away from home | C# · E · G# · B | 1× |
| v7 | D#m7 | Minor dominant — soft pull | D# · F# · A# · C# | 6× |
| 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# | 7× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 8× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 5 different chords appear 27 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
- Emaj7 F# BIVmaj7 → VIV → V G#mVImaj7 → VIIVI → VII ×4
- F# G#m7 BV → vi7deceptive cadence G#mVII → i7Aeolian arrival ×2
- D#m7 G#m7 Biii7 → vi7 G#mv7 → i7natural-minor cadence ×2
- C#m7 G#m7 Bii7 → vi7 G#miv7 → i7minor plagal ×1
The move to watch is Emaj7 → F#, heard 4 times. From the G#m side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the B side it reads IVmaj7 → V (IV → V: the lift that builds tension before 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 F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over Emaj7, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over D#m7, land on D#, F#, A# — 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 first chord is Emaj7; the ear learns where home is within a second. The chords that keep coming back are F#, Emaj7, D#m7, G#m7; read them as V–IVmaj7–iii7–vi7 in B or VII–VImaj7–v7–i7 in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Emaj7 → F# (IVmaj7 → V in B, VImaj7 → VII in G#m): VI → VII — the rising step that heads for the tonic. It closes on F#, 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.
Ahmet Hatipoğlu - Hüzün Durağı (Irmak Arıcı) 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: Ahmet HatipoğluMusic: Ahmet Hatipoğlu
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