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)
Fikret Kızılok - Bir Harmanım Bu Akşam - Chord
Key B major – G# minor Chords G#m, D#, C#m, F#, E, G#7, B Easy key C
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Key: B | Abm | G#m
Capo: 0
G#m C#m D# G#m F# Sorum yok soranım yok, yolum yok yordamım yok E C#m D# G#m Bir çıkmaz sevdadayım, çekip vuranım yok G#m C#m D# G#m F# Günüm yok güneşim yok, uykum yok düşlerim yok E C#m D# G#m Kın olmuş susuyorum, bir tek sırdaşım yok G#m D# G#m G#m D# G#m Çektiğim acıların, demindeyim bu akşam G#m D# G#m Pişman desem değilim, bir harmanım bu akşam G#7 C#m Her gecenin sabahı F# B Her kışın bir baharı E C#m Her şeyin bir zamanı D# G#m Benim dermanım yok
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Fikret Kızılok - Bir Harmanım Bu Akşam Tabs
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Harmony analysis
Fikret Kızılok – Bir Harmanım Bu Akşam: key and chord analysis
The song opens on G#m and ends on G#m. 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 both starts and finishes on G#m, G#m is heard 13 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# | 6× |
| 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 | 3× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 3× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 13× |
| V7/ii | G#7 | Secondary dominant V/ii — leads to C#msecondary dominant | G# · B# · D# · F# | 1× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 13× |
| V7/iv | G#7 | Secondary dominant V/iv — leads to C#msecondary dominant | G# · B# · D# · F# | 1× |
| 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# | 6× |
| 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 | 3× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 3× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 7 different chords appear 35 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. G#7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×8
- C#m D# Bii → V/vi G#miv → Viv → V ×5
- F# B BV → Iauthentic cadence G#mVII → III ×1
- G#7 C#m BV7/ii → iisecondary resolution G#mV7/iv → iv ×1
- C#m F# Bii → Vii → V G#miv → VII ×1
The move to watch is D# → G#m, heard 8 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 G#m, land on G#, B, D# — 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.
- Over C#m, land on C#, E, G# — 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 backbone is G#m, D#, C#m, F# — vi–V/vi–ii–V from the B side, i–V–iv–VII 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 D# → G#m (V/vi → vi in B, V → i in G#m): harmonic-minor cadence — the major V resolves dramatically. The final chord is G#m; the ear comes to rest in G#m.
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.
Fikret Kızılok - Bir Harmanım Bu Akşam 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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