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)
Aqsin Fateh - Barama - Chord
Key B major – G# minor Chords Ebm, Abm, E, Dbm Easy key C
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Key: B | Abm | G#m
Capo: 0
Ebm Bir ümid, bir işıq ipucu bəsdi mənə Abm E Dbm Ebm Qovuşum və gəlim yetişim ölüm sənə Dəli tek qısqanıram, üzünü görüm yenə Abm E Dbm Ebm Dağıd o saçlarını telini yan darama Ebm Abm Mən qanadsız kəpənək, sən barama E Ebm Ya məni öldür, ya məlhəm ol yarama Ebm Abm Mən bu canı səndən ötrü saxlamışam E Ebm Almag istəsən bir ayrı can arama Abm E Mən bu canı səndən ötrü saxlamışam Dbm Ebm Almag istəsən bir ayrı can arama Ebm Nəzirim var axı o şirin dillərinə Abm E Dbm Ebm Məni al, məni sar o qara tellərinə Əsir al, kələpçə vur bu sınan qollarıma Abm E Dbm Ebm Gözümün qibləsisən, necə baxsın harama Ebm Abm Mən qanadsız kəpənək, sən barama E Ebm Ya məni öldür, ya məlhəm ol yarama Ebm Abm Mən bu canı səndən ötrü saxlamışam E Ebm Almag istəsən bir ayrı can arama Abm E Mən bu canı səndən ötrü saxlamışam Dbm Ebm Almag istəsən bir ayrı can arama
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Aqsin Fateh - Barama Tabs
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Harmony analysis
Aqsin Fateh – Barama: key and chord analysis
The song opens on Ebm and ends on Ebm. 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 G# minor side because G#m is heard 10 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | — |
| ii | Dbm | Supertonic — prepares the dominant | Db · Fb · Ab | 6× |
| iii | Ebm | Mediant — a tonic-family shade | Eb · Gb · Bb | 16× |
| V/vi | D# | Secondary dominant V/vi — leads to Abmsecondary dominant | D# · G · A# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | 10× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| vi | Abm | Relative minor — the melancholy side | Ab · Cb · Eb | 10× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Abm | Tonic — home | Ab · Cb · Eb | 10× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | — |
| iv | Dbm | Subdominant — moves away from home | Db · Fb · Ab | 6× |
| v | Ebm | Minor dominant — soft pull | Eb · Gb · Bb | 16× |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VI | E | Submediant — warm colour | E · G# · B | 10× |
| 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 42 times in total; 4 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
- Ebm Abm Biii → vi G#mv → inatural-minor cadence ×10
The move to watch is Ebm → Abm, heard 10 times. From the G#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the B side it reads iii → 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — 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
- 1 semitone up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The first chord is Ebm; the ear learns where home is within a second. Ebm, Abm, E, Dbm carry the song: iii–vi–IV–ii relative to B, v–i–VI–iv relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm → Abm (iii → vi in B, v → i in G#m): natural-minor cadence — gentle, modal arrival. Ending on Ebm, the song seals B 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.
Aqsin Fateh - Barama 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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