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)
Gökhan Türkmen - İhtimaller Perisi - Chord
Key B major – G# minor Chords Ebm7, Dbm7, Emaj7, Bmaj7, Gb, Abm Easy key C
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Key: B | Abm | G#m
Capo: 0
Bmaj7 Ebm7 Dbm7
Her uzaklık çok zor
Gb Emaj7 Ebm7 Dbm7 Bmaj7
İçimde kötü ihtimaller periisi
Ebm7 Dbm7 Gb
Pul pul dökülmüş canım
Emaj7 Ebm7 Dbm7 Bmaj7
Yanar yanar da ısıtmaz beni
Dbm7 Ebm7 Emaj7 Gb Abm
Durmaz yağar üzeriiime kötü anılarım
Gb Emaj7 Bmaj7 Dbm7
Susar bak kanar gülüşüne, içim içim, hayırsızım
Abm Ebm7 Dbm7 Ebm7
Kapatın şehrin ışıklarını, günahı düşümde kalsın
Dbm7 Ebm7 Emaj7 Ebm7
Göz görmez olsun, gönül katlansın
Abm Ebm7 Dbm7 Ebm7
Bırakın alsın ne varsa, hayali benimle kalsın
Dbm7 Ebm7 Emaj7 Ebm7
Söz geçmez olsun, gönlüm katlansın
Abm Ebm7 Dbm7 Ebm7 Dbm7 Ebm7 Emaj7 Ebm7
Dbm7 Ebm7 Emaj7 Gb
Görmüüyor musun çaresizliğimi, bu kadar mı
Emaj7 Ebm7 Dbm7 Bmaj7
Duymuuuyor musun sesimi, gönül lal mi
End of song Play again?
Gökhan Türkmen - İhtimaller Perisi Tabs
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Harmony analysis
Gökhan Türkmen – İhtimaller Perisi: key and chord analysis
The song opens on Bmaj7 and ends on Bmaj7. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B major side because it both starts and finishes on B and B is heard 5 times against 4 for G#m. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| Imaj7 | Bmaj7 | Tonic — home | B · D# · F# · A# | 5× |
| ii7 | Dbm7 | Supertonic — prepares the dominant | Db · Fb · Ab · Cb | 14× |
| iii7 | Ebm7 | Mediant — a tonic-family shade | Eb · Gb · Bb · Db | 19× |
| V/vi | D# | Secondary dominant V/vi — leads to Abmsecondary dominant | D# · G · A# | — |
| IVmaj7 | Emaj7 | Subdominant — moves away from home | E · G# · B · D# | 9× |
| V | Gb | Dominant — strongest pull home | Gb · Bb · Db | 5× |
| vi | Abm | Relative minor — the melancholy side | Ab · Cb · Eb | 4× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Abm | Tonic — home | Ab · Cb · Eb | 4× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| IIImaj7 | Bmaj7 | Relative major — the bright side | B · D# · F# · A# | 5× |
| iv7 | Dbm7 | Subdominant — moves away from home | Db · Fb · Ab · Cb | 14× |
| v7 | Ebm7 | Minor dominant — soft pull | Eb · Gb · Bb · Db | 19× |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VImaj7 | Emaj7 | Submediant — warm colour | E · G# · B · D# | 9× |
| VII | Gb | Subtonic — steps back to the tonic | Gb · Bb · Db | 5× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 6 different chords appear 56 times in total; 6 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
- Dbm7 Gb Bii7 → Vii → V G#miv7 → VII ×2
- Emaj7 Gb BIVmaj7 → VIV → V G#mVImaj7 → VIIVI → VII ×2
- Ebm7 Abm Biii7 → vi G#mv7 → inatural-minor cadence ×2
- Gb Abm BV → videceptive cadence G#mVII → iAeolian arrival ×1
- Emaj7 Bmaj7 BIVmaj7 → Imaj7plagal cadence G#mVImaj7 → IIImaj7 ×1
- Dbm7 Abm Bii7 → vi G#miv7 → iminor plagal ×1
The move to watch is Dbm7 → Gb, heard 2 times. From the B side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the G#m side it is iv7 → VII. 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 Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Dbm7, land on Db, Fb, Ab — the chord's own tones always sound right on strong beats.
- Over Emaj7, 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
- 1 semitone up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on Bmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Ebm7, Dbm7, Emaj7, Bmaj7; read them as iii7–ii7–IVmaj7–Imaj7 in B or v7–iv7–VImaj7–IIImaj7 in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dbm7 → Gb (ii7 → V in B, iv7 → VII in G#m): ii → V — the classic preparation of the dominant. The final chord is Bmaj7; the ear comes to rest in B.
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.
Gökhan Türkmen - İhtimaller Perisi 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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Lyrics: Ozan TurgutMusic: Gökhan TürkmenArrangement: GT Band
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