Ajda Pekkan - Sana Neler Edeceğim - Chord

Key B major – G# minor Chords Abm, Gb, Dbm, Eb Easy key C

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Abm                       Gb        Abm
Çoktandır anladım senin gözün dışarda
                   Dbm
Eskisi gibi bağlı değilsin bana 
                     Abm            
Gelmem bu oyuna, bırakmam yanına
Eb                 Abm
Ne işler açarım başına

Abm                     Dbm                Gb     Eb
Seveceğim, gezeceğim, görürsün sana neler edeceğim
Abm          Gb           Dbm           Eb    Abm      
Bir yerine bin cezayla hakkından geleceğim senin    

Abm                       Gb        Abm
Ne hayrın dokunur ne de bir şey umulur
                Dbm
Başkası sende bilmem ki ne bulur
                         Abm 
Elinden uçanla bir kaçan kurtulur
Eb                       Abm
Bugün seversin yarın unutur

Abm                     Dbm                Gb     Eb
Seveceğim, gezeceğim, görürsün sana neler edeceğim
Abm          Gb           Dbm           Eb    Abm      
Bir yerine bin cezayla hakkından geleceğim senin 

Abm                Gb    Abm 
Kolla kendini sıra bana geldi
                      Dbm
Kadının ferdi erkekleri yendi
                      Abm
Bak zaman değişti, sabırlar tükendi
Eb                 Abm
Yalvarmak çok eskidendi

End of song Play again?

Ajda Pekkan - Sana Neler Edeceğim Tabs

NotesX

Harmony analysis

Ajda Pekkan – Sana Neler Edeceğim: key and chord analysis

The song opens on Abm and ends on Abm. 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 both starts and finishes on G#m, G#m is heard 18 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#	—
ii	Dbm	Supertonic — prepares the dominant	Db · Fb · Ab	7×
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	7×
IV	E	Subdominant — moves away from home	E · G# · B	—
V	Gb	Dominant — strongest pull home	Gb · Bb · Db	7×
vi	Abm	Relative minor — the melancholy side	Ab · Cb · Eb	18×
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	Abm	Tonic — home	Ab · Cb · Eb	18×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	—
iv	Dbm	Subdominant — moves away from home	Db · Fb · Ab	7×
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	7×
VI	E	Submediant — warm colour	E · G# · B	—
VII	Gb	Subtonic — steps back to the tonic	Gb · Bb · Db	7×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 39 times in total; 3 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 ×7
Gb Abm BV → videceptive cadence G#mVII → iAeolian arrival ×3
Dbm Abm Bii → vi G#miv → iminor plagal ×3
Dbm Gb Bii → Vii → V G#miv → VII ×2
Dbm Eb Bii → V/vi G#miv → Viv → V ×2

The move to watch is Eb → Abm, heard 7 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 Dbm, land on Db, Fb, Ab — 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. Abm, Gb, Dbm, Eb carry the song: vi–V–ii–V/vi relative to B, i–VII–iv–V relative to G#m. 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. It closes on Abm, letting the G#m 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.