Velet - Deprem - Chord

Key B major – G# minor Chords F#, G#m, E Easy key G (capo 4)

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Capo 0

G#m  F#  E  F#

G#m
 Uyandı şehir
 
Yürek dağladı kara haber 
         F#
Şafak vakti titredi gökyüzünde bu yıldızlar
                    E
Topraklar inletti anne duası

Kırıldı umutlar, sel oldu gözyaşlar
F#
Enkazın kötü kokusu şehrimi sardı
                           G#m
Bundan nasıl büyük bir acı var
                                   F#
Bir anda çöktü dünya yıkıldı masum evler
                                        E
Kucakladı enkaz acının hüznüyle çığlıkları

Gözlerde hüzün yürekte yangın
     F#
Hava soğuk kimse üşümedi
                             G#m
Çığlık çığlık kıyamet ortasında 
                                     F#
O gece büyüdü şehirde ki bütün çocuklar 
                                                 E
Karanlıkla çevrili masumiyetin uykusuna dalan şehir 
          F#
Çocukların mı kayıp? yavruların mı kayıp?

Uyan uyan uyan

G#m  F#  E  F#
(Tüm şarkı boyunca ayunı döngü devam eder)


Kuşlar sustu yüreğimde hüzün serildi
Acılar dans etti gözyaşlarım sel oldu
Gecenin karanlığında yitip giden umutlar gibiyim inan
Kırılan kalplerde birer yara açtı
Enkazın altında kaybolan masum yüzler binler gitti
Acının kokusu tenimde kırgınlığımı hatırlat bana
Hüzünlü anılar dolu sokaklar acının ve sevginin izlerini taşıyan her şey var burda
Gel gör bak

Seni nasıl özledim
gel gör bak
sizi nasıl özledim
gel gör bak
yüreğim dayanmaz artık
gel gör bak
bu yarayı beraber sardık
gel gör bak

seni nasıl özledim
gel gör bak
sizi nasıl özledim
gel gör bak
yüreğim dayanmaz artık
gel gör bak
bu yarayı beraber sardık

End of song Play again?

Velet - Deprem Tabs

NotesX

Harmony analysis

Velet – Deprem: key and chord analysis

The song opens on G#m and ends on F#. 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 G# minor side because it opens on G#m and 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.

Seen from B major
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#	—
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	5×
V	F#	Dominant — strongest pull home	F# · A# · C#	10×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	5×
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#	5×
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#	—
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	—
VI	E	Submediant — warm colour	E · G# · B	5×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	10×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 3 different chords appear 20 times in total; 3 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

E F# BIV → VIV → V G#mVI → VIIVI → VII ×5
F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×4

The move to watch is E → F#, heard 5 times. From the G#m side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the B side it reads IV → 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 G#m, land on G#, B, D# — 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.

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
1 semitone up

The song's harmonic story

Starting on G#m, the song gives away its key from the very first bar. F#, G#m, E carry the song: V–vi–IV relative to B, VII–i–VI relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → F# (IV → V in B, VI → 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.