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)
Harun Kolçak - Deli Et Beni - Chord
Key B major – G# minor Chords F#, E, G#m, C#m, D#, B Easy key G (capo 4)
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Key: B | Abm | G#m
Capo: 0
G#m F# Sönmüş bir volkan gibiyim hazırım alevlenmeye E F# Gel içimdeki ateşi yak savrulayım göklere G#m F# Biraz kül biraz duman olup sevişelim sevginle E F# Yağmurlar söndürmesin yansın dünya benimle E F# Gel içimdeki ateşi yak cehennemden kurtulayım C#m F# G#m F# E D# Sana sarılıp seninle yok olup güneş gibi yeniden doğayım G#m Hadi gir ruhuma sar beni F# Çal fikrimi deli et beni E B Fırtınalar kopar içimde F# Unuttur bana kendimi
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Harun Kolçak - Deli Et Beni Tabs
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Harmony analysis
Harun Kolçak – Deli Et Beni: 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.
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 4 times against 1 for B 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | 1× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | 1× |
| 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# | 1× |
| IV | E | Subdominant — moves away from home | E · G# · B | 5× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 9× |
| 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# | 1× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | 1× |
| 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# | 1× |
| VI | E | Submediant — warm colour | E · G# · B | 5× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 9× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 6 different chords appear 21 times in total; 5 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
- E F# BIV → VIV → V G#mVI → VIIVI → VII ×3
- F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×2
- D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×1
- E B BIV → Iplagal cadence G#mVI → III ×1
- C#m F# Bii → Vii → V G#miv → VII ×1
The move to watch is E → F#, heard 3 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 E, land on E, G#, B — 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.
- 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
- 4 semitones down · capo 4 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is G#m; the ear learns where home is within a second. The backbone is F#, E, G#m, C#m — V–IV–vi–ii from the B side, VII–VI–i–iv from the G#m side. 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 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.
Harun Kolçak - Deli Et Beni 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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