Athena - Yavaş - Chord

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

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Capo 0

G#m
Ne yaparsan yap kendine yapıyorsun 
G#m               E
Sanki benim için yaşıyorsun 
E             C#m    B      F#          D#
Kendi kendini kandırmaktan sıkılmadın hala 
G#m
Alay edip kendini düşürüyorsun 
G#m                E
Gülerken için için ağlıyorsun 
E           C#m      B  F#             D#
Israr etme, inkar etme anlamıyorsun hala 

D#
Yavaş, yavaş yavaş yavaş yavaş 
D#                      C#m           E   D#
Yeter artık kendine gel dur çok fazla coşma 
D#                      C#m            G#m
Elinden gelen bu kadar bekle bekle konuşuruz bir ara 

E             G#m
Kaldır kolunu havaya 
E            G#m
Teslim ol pişman olma 
E           G#m        F#        C#m
Ateş etmeden son defa, düşün bir daha

G#m
Sen seni hiç mi sevemiyorsun 
G#m            E
Belki kendine güvenemiyorsun 
E              C#m     B    F#            D#
Sus soru sorma cevabım yok tanıyamadın hala 
G#m
Bana öyle bakma kaldıramam 
G#m            E
İçimden geçeni saklayamam 
E         C#m    B  F#            D#
Kısa kısa uzak ara  görüşürüz sonra

End of song Play again?

Athena - Yavaş Tabs

NotesX

Harmony analysis

Athena – Yavaş: key and chord analysis

The song opens on G#m 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: to us the song feels closer to the G# minor side because it opens on G#m, G#m is heard 12 times against 4 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.

Seen from B major
Degree	Chord	Role	Notes	In song
I	B	Tonic — home	B · D# · F#	4×
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	7×
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#	8×
IV	E	Subdominant — moves away from home	E · G# · B	12×
V	F#	Dominant — strongest pull home	F# · A# · C#	5×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	12×
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#	12×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	4×
iv	C#m	Subdominant — moves away from home	C# · E · G#	7×
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#	8×
VI	E	Submediant — warm colour	E · G# · B	12×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	5×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 6 different chords appear 48 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 G#m BIV → vi G#mVI → iVI → i ×3
D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×2
C#m G#m Bii → vi G#miv → iminor plagal ×2

The move to watch is E → G#m, heard 3 times. From the G#m side it is VI → i (VI → i: falls a half step into home); from the B side it reads IV → 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over D#, land on D#, G, A# — 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 opening G#m lays a solid floor for everything that follows. The chords that keep coming back are G#m, E, D#, C#m; read them as vi–IV–V/vi–ii in B or i–VI–V–iv 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 E → G#m (IV → vi in B, VI → i in G#m): VI → i — falls a half step into home. Ending on D#, 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.