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)
Ajda Pekkan - O Benim Dünyam - Chord
Key B major – G# minor Chords Abm, Gb, E, Eb, B Easy key C
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Key: B | Abm | G#m
Capo: 0
Abm Gb
Ne zaman güneş açsa o gücüme güç katar
E Eb
Bir sözüyle bir nefesiyle canıma can katar
Abm Gb
Ne zaman şimşek olsa ondan ödüm kopar
E Eb
Bakışında nazarında o anda kanım donar
Abm
O benim dünyam
Gb
Onunla nefes alan ve onunla yok olan
E
Öylesine güçlü öylesine güzel
B Eb
Öylesine benim olan
Abm
O benim dünyam
Gb
Onunla sevebilen ve onunla nefret eden
E
Öylesine güçlü öylesine güzel
B Eb
Öylesine benim olan
Abm Gb
Ne zaman bahar olsa içim içime sığmaz
E Eb
Bana gülüşü ve beni öpüşü, böyle bir aşk olamaz
Abm Gb
Ne zaman fırtınaysa ona karşı durulmaz
E Eb
Delicesine öfkesinden tozum toprağım kalmaz
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Ajda Pekkan - O Benim Dünyam Tabs
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Harmony analysis
Ajda Pekkan – O Benim Dünyam: key and chord analysis
The song opens on Abm and ends on Eb. 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 6 times against 2 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# | 2× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| V/vi | Eb | Secondary dominant V/vi — leads to Abmsecondary dominant | Eb · G · Bb | 6× |
| IV | E | Subdominant — moves away from home | E · G# · B | 6× |
| V | Gb | Dominant — strongest pull home | Gb · Bb · Db | 6× |
| vi | Abm | Relative minor — the melancholy side | Ab · Cb · Eb | 6× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Abm | Tonic — home | Ab · Cb · Eb | 6× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | 2× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | — |
| V | Eb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Eb · G · Bb | 6× |
| VI | E | Submediant — warm colour | E · G# · B | 6× |
| VII | Gb | Subtonic — steps back to the tonic | Gb · Bb · Db | 6× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 5 different chords appear 26 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 Eb is V/vi, a secondary dominant heading for G#m.
Chord movement
- Eb Abm BV/vi → vi G#mV → iharmonic-minor cadence ×5
- E B BIV → Iplagal cadence G#mVI → III ×2
The move to watch is Eb → Abm, heard 5 times. From the G#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the B side it reads V/vi → 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 Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — 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.
- When Eb 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 Abm; the ear learns where home is within a second. The backbone is Abm, Gb, E, Eb — vi–V–IV–V/vi from the B side, i–VII–VI–V from the G#m side. Eb 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 Eb → Abm (V/vi → vi in B, V → i in G#m): harmonic-minor cadence — the major V resolves dramatically. Ending on Eb, 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.
Ajda Pekkan - O Benim Dünyam 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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