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)
Ece Mumay - Tılsım (Taladro) - Chord
Key B major – G# minor Chords G#m, F#, E, D#m Easy key C
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Key: B | Abm | G#m
Capo: 0
G#m F# E D#m G#m Kovma beni evimden F# Bugün varım yarın yokum E Yok ki bana teninden D#m Başka liman yok G#m Sen kocaman çöllere F# Serap gibi kar gibi ol E Küsme bana elinde D#m Başka bi’ ben yok G#m F# E D#m (Tüm şarkı boyunca aynı akor döngüsü devam eder) Hangi diyarın güzelliğisin Andırıyorken güzel bir hissi Düşüyorum yolum cehennem Yani yanan bir sen değilsin Zindanım olmuş aşk Tabi gözlerine düşeli mahkumum Gardiyan halimi sormuyor bile Ne bir ses ne bir yüz oysa masumum Bir gün bu sahile uğra Ama zor olacak beni bulman Dileğim sensin adadığım ömrüm Kula ne fayda kuldan? Yaşıyorum ve bir düş bu Heyecanımı korumuştum Sesi gökyüzü mavisinden de belirgin Yine de dinmiyor kuşkum Onca gönül onca badire Maziden aklına geliyorsa nadiren Silmeyi yüreğine yazmışsan Ne şiire kız ne de şaire Gözyaşı sebep bir selde Hakkım, hakkım yerle bir hem de Dünya ladesini kaybettim Çünkü aklım galiba sende bir yerde Ben bir tılsım gibiyim, Işıldarım gönlüne, Tan çalar bi’ şarkı dilimde Göz göre göre... Seni öyle bilirim, Bi’ gün ölebilirim, Yanında, seherde, Kan ter içinde. Ben bir deli sen de bir peri İki deli meşgul ediyor yine gündemi Senden yiyorum hep çelmeyi Kalkınca sen de aranıyorum çareyi Nasıl bir dert bu? Yollar ucube fesatından arttı Ve beni aniden öldürüverdi Kalbi buz, cesedim bozulmaz artık Gündoğumu gibisin umut dolu Ben ise yağmura yenik bir akşamım Elimde valizle gardayım, Sorma beceremedim sana varmayı Bu firarlar sana tanıdık Ben ki bir yalana kanıp da astığın biri Hey gidi bu kaderin kantarı yok, Artık bu evde kayıp yastığın biri Yerden göğe kadar haklı Ama gökten yere düşer aklı Hızını alamamış eski bir kalbe mi çarptım ? Yeniden doğacaktım! Derdim çok ama dertten çok Seni özlüyorum buna derman yok Yüreğine demir attığım limanım Başka bir sen ama aşka bir ben yok Ben bir tılsım gibiyim, Işıldarım gönlüne, Tan çalar bi’ şarkı dilimde Göz göre göre... Seni öyle bilirim, Bi’ gün ölebilirim, Yanında, seherde, Kan ter içinde.
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Ece Mumay - Tılsım (Taladro) Tabs
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Harmony analysis
Ece Mumay – Tılsım (Taladro): key and chord analysis
The song opens on G#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 it opens on G#m and G#m is heard 4 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# | — |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | 4× |
| 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 | 4× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 4× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 4× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 4× |
| 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# | 4× |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VI | E | Submediant — warm colour | E · G# · B | 4× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 4× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 16 times in total; 4 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
- D#m G#m Biii → vi G#mv → inatural-minor cadence ×3
The move to watch is D#m → G#m, heard 3 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 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.
- 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
- 1 semitone up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The opening G#m lays a solid floor for everything that follows. G#m, F#, E, D#m carry the song: vi–V–IV–iii relative to B, i–VII–VI–v relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D#m → G#m (iii → vi in B, v → i in G#m): natural-minor cadence — gentle, modal arrival. Ending on D#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.
Ece Mumay - Tılsım (Taladro) 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: Taladro, Ece MumayMusic: Cem Coşkun, Ece Mumay
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