Simge - Öpücem - Chord

Key B major – G# minor Chords G#m, F#, E, Ebm, C#m Easy key G (capo 4)

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Capo 0

Ebm          F#   E     G#m
Peşindeyim alana kadar peşindeyim
            F#    E     G#m
İşimdeyim gücümdeyim ama düşündeyim

G#m
Yakıcam buraları o derece yani başındayım
               E    F#     G#m
Gülünce yazında ağlayınca kışındayım

Ebm                F#
Daha iyisini mi bulucan
C#m            G#m
Bir gel neler anlatıcam 
Ebm
Ben seni öyle bir sevicem ki 
E        
Aklını oynatıcan 

Ebm         E       F#    G#m
Aç koynunu giricem giricem dellenme 
Ebm        E      F#       G#m
Dudağından öpücem öpücem söylenme

Ebm              F#         E       G#m
Demek ki bir bildiğim var sen beni takip et 
G#m             F#       E        G#m
Senin yolun yol değil ya hindistan ya tibet

G#m                              
Neye benziyor istediğin hayat bir tarif et 
                    E        F#     G#m
Kapı kapı dolaşan o kedi  buraya da gelecek 

Ebm                F#
Daha iyisini mi bulucan
C#m            G#m
Bir gel neler anlatıcam 
Ebm
Ben seni öyle bir sevicem ki 
E        
Aklını oynatıcan 

Ebm         E       F#    G#m
Aç koynunu giricem giricem dellenme 
Ebm        E      F#       G#m
Dudağından öpücem öpücem söylenme

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Simge - Öpücem Tabs

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Harmony analysis

Simge – Öpücem: key and chord analysis

The song opens on Ebm and ends on G#m. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G# minor side because it comes to rest on G#m and G#m is heard 15 times while B never appears. 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#	2×
iii	Ebm	Mediant — a tonic-family shade	Eb · Gb · Bb	10×
V/vi	D#	Secondary dominant V/vi — leads to G#msecondary dominant	D# · G · A#	—
IV	E	Subdominant — moves away from home	E · G# · B	12×
V	F#	Dominant — strongest pull home	F# · A# · C#	12×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	15×
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#	15×
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#	2×
v	Ebm	Minor dominant — soft pull	Eb · Gb · Bb	10×
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	—
VI	E	Submediant — warm colour	E · G# · B	12×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	12×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 5 different chords appear 51 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×6
E F# BIV → VIV → V G#mVI → VIIVI → VII ×6
E G#m BIV → vi G#mVI → iVI → i ×4
C#m G#m Bii → vi G#miv → iminor plagal ×2

The move to watch is F# → G#m, heard 6 times. From the G#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the B side it reads V → vi (deceptive cadence: expected B, lands on G#m). 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 F#, land on F#, A#, C# — 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.

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

4 semitones down · capo 4 keeps the original pitch
1 semitone up

The song's harmonic story

The opening Ebm lays a solid floor for everything that follows. The backbone is G#m, F#, E, Ebm — vi–V–IV–iii from the B side, i–VII–VI–v from the G#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F# → G#m (V → vi in B, VII → i in G#m): Aeolian arrival — rises a whole tone into home. Ending on G#m, the song seals G#m 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.