Sancak - Düşün ki - Chord

Key B major – G# minor Chords Gb, E, Ebm, Abm, B, Dbm Easy key G (capo 4)

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Capo 0

B  Gb  Abm  Gb

B           Gb            Abm       Gb
Yine içimde sen uyandın, yıllardır bundan usandım
B          Gb          Abm        Gb
Kapındayım ümitlerle, git dersen anlarım

E        Ebm         E          Gb
Ya tutarsın kollarımı ya da kalmaz bir anlamı
E        Ebm        E          Gb
Ya gelirsin peşimden ya da çık git içimden
Abm       Ebm         E           Gb
Ya sararsın yaralarımı ya da al bütün anılarımı
E        Ebm         Dbm
Ya bitir ve git dünyamı ya getir gülüşünden

Abm                Ebm      E                 Gb
Düşün ki güneşsin ufkumda, düşün ki saçların omzumda
Abm        Ebm          E       Gb
Ben çölde sense yağmur eririm altında
Abm              Ebm       E             Gb
Ama güneşim yok ufkunda, saçların kimin omzunda
Abm           Ebm           E          Gb
Sen üzülsen, yağsa yağmur, gözyaşım o aslında

E  Ebm  Dbm  Ebm

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Sancak - Düşün ki Tabs

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Harmony analysis

Sancak – Düşün ki: key and chord analysis

The song opens on B and ends on Ebm. 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: we can't honestly pick a side here — the song moves freely between B major and G# minor because it opens on B and G#m is heard 8 times against 3 for B. Try reading the chords both ways and see which feels more like home to you.

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#	3×
ii	Dbm	Supertonic — prepares the dominant	Db · Fb · Ab	2×
iii	Ebm	Mediant — a tonic-family shade	Eb · Gb · Bb	10×
V/vi	D#	Secondary dominant V/vi — leads to Abmsecondary dominant	D# · G · A#	—
IV	E	Subdominant — moves away from home	E · G# · B	11×
V	Gb	Dominant — strongest pull home	Gb · Bb · Db	13×
vi	Abm	Relative minor — the melancholy side	Ab · Cb · Eb	8×
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	8×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	3×
iv	Dbm	Subdominant — moves away from home	Db · Fb · Ab	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	11×
VII	Gb	Subtonic — steps back to the tonic	Gb · Bb · Db	13×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 6 different chords appear 47 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

Gb Abm BV → videceptive cadence G#mVII → iAeolian arrival ×7
E Gb BIV → VIV → V G#mVI → VIIVI → VII ×7
Gb B BV → Iauthentic cadence G#mVII → III ×2
Dbm Abm Bii → vi G#miv → iminor plagal ×1

The move to watch is Gb → Abm, heard 7 times. From the B side it reads V → vi (deceptive cadence: expected B, lands on G#m); from the G#m side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 Gb, land on Gb, Bb, Db — 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 Ebm, land on Eb, Gb, Bb — 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

Starting on B, the song gives away its key from the very first bar. Gb, E, Ebm, Abm carry the song: V–IV–iii–vi relative to B, VII–VI–v–i relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Abm (V → vi in B, VII → i in G#m): deceptive cadence — expected B, lands on G#m. The final chord is Ebm; 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.