Tuğkan - Unuttun mu Beni - Chord

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

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Capo 0

G#m  C#m  F#  G#m

G#m        C#m   F#      G#m
Unuttun mu beni, her şeyimi
G#m         C#m  F#     G#m
Sildin mi bütün  izlerimi

G#m                                     C#m
Hiç düşmedim mi aklına, hiç çalmadı mı o şarkı
                  F#  C#m          F#         G#m
O sahil, o ev, o ada, o kırlangıç da mı küs bana

G#m          C#m           F#          G#m
Sanırdım ki aşklar ancak, filmlerde böyle

C#m                          G#m
Ben hâlâ dolaşıyorum avare, hani görsen enikonu divane
F#                                         G#m
Ne yaptıysam olmadı ne çare, unutamadım gitti

G#m                                           C#m
Ey aşk neredesin şimdi, sen de mi terk ettin beni
                   F#     C#m      F#            G#m
Ne hata ettiysem, affet, büyüklük sende kalsın, e mi

G#m              C#m F#               G#m
Sen de olmazsan eğer, batar artık bu gemi

End of song Play again?

Tuğkan - Unuttun mu Beni Tabs

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Harmony analysis

Tuğkan – Unuttun mu Beni: 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.

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 both starts and finishes on G#m and G#m is heard 16 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#	10×
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#	—
IV	E	Subdominant — moves away from home	E · G# · B	—
V	F#	Dominant — strongest pull home	F# · A# · C#	10×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	16×
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#	16×
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#	10×
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#	—
VI	E	Submediant — warm colour	E · G# · B	—
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	10×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 3 different chords appear 36 times in total; 3 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

C#m F# Bii → Vii → V G#miv → VII ×9
F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×8
C#m G#m Bii → vi G#miv → iminor plagal ×1

The move to watch is C#m → F#, heard 9 times. From the G#m side it is iv → VII; from the B side it reads ii → V (ii → V: the classic preparation of the dominant). 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 C#m, land on C#, E, G# — 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.

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 chords that keep coming back are G#m, C#m, F#; read them as vi–ii–V in B or i–iv–VII in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C#m → F# (ii → V in B, iv → VII in G#m): ii → V — the classic preparation of the dominant. 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.