Yaşlı Amca - Bu Son - Chord

Key B major – G# minor Chords B, C#m, F#, G#m, D# Easy key C

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Capo 0

F#          B         F#
   Birbirimize güvenmişiz ne güzel
     B          F#
Yine de tartışmışız, olabilir
      B           F#
Günlerden kavga günü madem

B         F#          B        F#
Gel dolanalım bu deryanın en güzel kumsalına
B      F#        B           F#         C#m
Oyalanalım doyamadım bu dünyanın yıllarına
      B
Bu sooon

G#m  C#m  C#m  D#

G#m              C#m
Diye diye kandırıyorum ama
               D#
Size de sızlanıyorum ama
G#m               C#m
Değer bilmem dibe vurmadan
          D#
Niye niye anlamıyorum aga

G#m             C#m
Bile bile aldanıyoruz ama
                 D#
Hayallere savruluyoruz ama
G#m              C#m
Göre göre hızlanıyor zaman
          D#
Diye diye yıllanıyoruz aga

G#m     C#m       D#  G#m    C#m  D#
diye diye diye diye   diye diye

B  F#  B  F#

         B         F#
İlklerimize gücenmişiz ne garip
     B         F#
Yine de özlermişiz, olabilir 
      B          F#
Günlerden anma günü madem
 
B         F#          B        F#
Gel dolanalım bu deryanın en güzel kumsalına
B      F#        B           F#         C#m
Oyalanalım doyamadım bu dünyanın yıllarına
      B
Bu sooon

G#m  C#m  C#m  D#

G#m              C#m
Diye diye kandırıyorum ama
               D#
Size de sızlanıyorum ama
G#m               C#m
Değer bilmem dibe vurmadan
          D#
Niye niye anlamıyorum aga

G#m             C#m
Bile bile aldanıyoruz ama
                 D#
Hayallere savruluyoruz ama
G#m              C#m
Göre göre hızlanıyor zaman
          D#
Diye diye yıllanıyoruz aga

G#m     C#m       D#  G#m     C#m  D#
Diye diye diye diye    diye diye

End of song Play again?

Yaşlı Amca - Bu Son Tabs

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Harmony analysis

Yaşlı Amca – Bu Son: key and chord analysis

The song opens on F# and ends on D#. 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)
#7 = G (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between B major and G# minor because B is heard 18 times against 14 for G#m and the major V chord points straight at G#m. Try reading the chords both ways and see which feels more like home to you.

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#	18×
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	18×
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#	14×
IV	E	Subdominant — moves away from home	E · G# · B	—
V	F#	Dominant — strongest pull home	F# · A# · C#	17×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	14×
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#	14×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	18×
iv	C#m	Subdominant — moves away from home	C# · E · G#	18×
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#	14×
VI	E	Submediant — warm colour	E · G# · B	—
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	17×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 5 different chords appear 81 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

F# B BV → Iauthentic cadence G#mVII → III ×15
C#m D# Bii → V/vi G#miv → Viv → V ×14
D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×12

The move to watch is F# → B, heard 15 times. From the B side it reads V → I (authentic cadence: the strongest arrival home); from the G#m side it is VII → III. 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 B, land on B, D#, F# — 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.
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
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The first chord is F#; the ear learns where home is within a second. The chords that keep coming back are B, C#m, F#, G#m; read them as I–ii–V–vi in B or III–iv–VII–i in 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 F# → B (V → I in B, VII → III in G#m): authentic cadence — the strongest arrival home. It closes on D#, 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.