Bengü - Sahici - Chord

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

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Capo 0

Eb
Doğdu içime ayrılacağın 
            E      C#m     Eb
Selamını aldım yalnızlığın 

Bak da gözüme, söyle yüzüme 
              G#m
Yakıştı mı bu haksızlığın 

Kırsam döksem ne işe yarıyor 
C#m
Almış bak başını yine gidiyor 
E                      Eb
Ben aşkı kurtarayım derken 
                 G#m
Kalbim elden gidiyor 

Eb               E       Eb
Yıkılır her gece üzerime dünya 
                   E       G#m
Ben sandım sahici, meğerse bir rüya 
                 C#m    Eb
Gönlünü gönlüme, ömrünü ömrüme 
          E        Eb
Yazmıştım sildiler zorla

End of song Play again?

Bengü - Sahici Tabs

NotesX

Harmony analysis

Bengü – Sahici: key and chord analysis

The song opens on Eb and ends on Eb. 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 G#m is heard 3 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	C#m	Supertonic — prepares the dominant	C# · E · G#	3×
iii	D#m	Mediant — a tonic-family shade	D# · F# · A#	—
V/vi	Eb	Secondary dominant V/vi — leads to G#msecondary dominant	Eb · G · Bb	7×
IV	E	Subdominant — moves away from home	E · G# · B	5×
V	F#	Dominant — strongest pull home	F# · A# · C#	—
vi	G#m	Relative minor — the melancholy side	G# · B · D#	3×
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#	3×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	—
iv	C#m	Subdominant — moves away from home	C# · E · G#	3×
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	5×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	—

Analysis

The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 18 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 G#m BV/vi → vi G#mV → iharmonic-minor cadence ×2
C#m Eb Bii → V/vi G#miv → Viv → V ×2
E G#m BIV → vi G#mVI → iVI → i ×1

The move to watch is Eb → G#m, heard 2 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 Eb, land on Eb, G, Bb — 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 C#m, land on C#, E, G# — 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 Eb; the ear learns where home is within a second. The chords that keep coming back are Eb, E, C#m, G#m; read them as V/vi–IV–ii–vi in B or V–VI–iv–i in 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 → G#m (V/vi → vi in B, V → i in G#m): harmonic-minor cadence — the major V resolves dramatically. It closes on Eb, 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.