Sezen Aksu - Doğrucu Ozan Bayraşa - Chord

Key B major – G# minor Chords G#m, C#m7, D#7, Emaj7, Amaj7, D#m7 Easy key G (capo 4)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

G#m
Verdim elimi, alamadım kolumu

Mevzu yine üstüme kaldı mı, kaldı

C#m7
Ay ne oldu böyle bize?

İnsanlık öldü mü?
                      Amaj7   D#7
İş bu raddeye geldi mi,     geldi 

G#m
Gelen yok giden yok, bir selam sabah eden yok

Meğer değişmiş dünyanın kodları

C#m7
Bir şarkı vardı, adı “İki Yabancı”
                          Amaj7    D#7
Artık tam da bu ahir zaman yalnızları

G#m                 C#m7
Çaldım açan yok kapıları 
               Emaj7
Bozulmuş buraları
                 D#m7
Bir durup bakmak lazım

G#m                 C#m7
Belli haklı olmak uğruna
              Emaj7
Unuttuk manaları
                 D#7
Bize bir doğrucu lazım

G#m
Lafa bakarım laf değil, altı boş üstü zehir
Biz deli miyiz, neyiz? Allah’ım

C#m7
Olacak gibi mi değil, yenecek nane mi hayır
                      Amaj7   D#7
E ben de hem ağlarım, hem oynarım

G#m                 C#m7
Çaldım açan yok kapıları 
               Emaj7
Bozulmuş buraları
                 D#m7
Bir durup bakmak lazım

G#m                 C#m7
Belli haklı olmak uğruna
              Emaj7
Unuttuk manaları
                 D#7
Bize bir doğrucu lazım

End of song Play again?

Sezen Aksu - Doğrucu Ozan Bayraşa Tabs

NotesX

Harmony analysis

Sezen Aksu – Doğrucu Ozan Bayraşa: key and chord analysis

The song opens on G#m and ends on D#7. 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: to us the song feels closer to the G# minor side because it opens on G#m, G#m is heard 7 times while B never appears and the major V chord points straight at G#m. 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#	—
ii7	C#m7	Supertonic — prepares the dominant	C# · E · G# · B	7×
iii7	D#m7	Mediant — a tonic-family shade	D# · F# · A# · C#	2×
V7/vi	D#7	Secondary dominant V/vi — leads to G#msecondary dominant	D# · G · A# · C#	5×
IVmaj7	Emaj7	Subdominant — moves away from home	E · G# · B · D#	4×
V	F#	Dominant — strongest pull home	F# · A# · C#	—
vi	G#m	Relative minor — the melancholy side	G# · B · D#	7×
bVIImaj7	Amaj7	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	A · C# · E · G#	3×
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#	7×
bIImaj7	Amaj7	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	A · C# · E · G#	3×
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	7×
v7	D#m7	Minor dominant — soft pull	D# · F# · A# · C#	2×
V7	D#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A# · C#	5×
VImaj7	Emaj7	Submediant — warm colour	E · G# · B · D#	4×
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). 6 different chords appear 28 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#7 is V7/vi, a secondary dominant heading for G#m. Amaj7 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

D#7 G#m BV7/vi → visecondary resolution G#mV7 → iharmonic-minor cadence ×4
D#m7 G#m Biii7 → vi G#mv7 → inatural-minor cadence ×2

The move to watch is D#7 → G#m, heard 4 times. From the G#m side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the B side it reads V7/vi → vi (secondary resolution: D#7 resolves a fourth up to G#m). 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 C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over D#7, land on D#, G, A# — the chord's own tones always sound right on strong beats.
When D#7 comes, swap the scale's F# for G: that single note is the harmonic-minor sound of the chord.
On Amaj7, follow the chord's notes (A · C# · E · G#) rather than the key's scale — it's a borrowed colour.

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. G#m, C#m7, D#7, Emaj7 carry the song: vi–ii7–V7/vi–IVmaj7 relative to B, i–iv7–V7–VImaj7 relative to G#m. D#7 is the interesting twist: in B it is a chromatic chord (V7/vi), while in G#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D#7 → G#m (V7/vi → vi in B, V7 → i in G#m): harmonic-minor cadence — the major V resolves dramatically. Ending on D#7, 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.