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)
Birileri - Halledebilirdik - Chord
Key B major – G# minor Chords B, F#, E, D#m, Em, G#m, D# Easy key C
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Key: B | Abm | G#m
Capo: 0
B D#m E F# B F# E
B D#m E F# B
Sen bedenim oldun, ruhum oldun, karanlık gecemde güneş oldun
D#m E F# B
Ben önümü bile göremezken, beni düştüğüm yerden doğrulttun
Em B Em F#
Şimdiyse bitti diyorsun, gerçekten, bırakıp gidiyor musun
B B D#m D#m E B F#
B D#m E F# B
Sen ilk öptüğüm, dokunduğum, hakkında durmadan hayaller kurduğum
D#m E F# B
Ben aşk denen o ünlü kelimenin, sözlük anlamını senin kollarında buldum
Em B Em F#
Şimdiyse bitti diyorsun, öylece, bırakıp gidiyor musun
G#m E B D#
Dur, çıkma hayatımdan, hayır inanmam, bu kötü bir şaka
G#m E B F#
Dur, konuşsaydık iki dakka, sen de biliyorsun, halledebilir
G#m F# E Em B
Halledebilir, halledebilir, halledebilirdik, üstesinden gelebilirdik
B B D#m D#m E B F#
B D#m E F# B
Bak, iki damla gözyaşı daha süzülüyor senin için yanaklarımdan
D#m E F# B
Ah, anlamıyorum nasıl bir şey bu, nasıl da hastalıklı bir duygu
Em B Em F#
Zaman bile gücünü yettiremez buna, hatırlarım hala, bilirim daim olduğunu
G#m E B D#
Dur, çıkma hayatımdan, hayır inanmam, bu kötü bir şaka
G#m E B F#
Dur, konuşsaydık iki dakka, sen de biliyorsun, halledebilir
G#m F# E Em B
Halledebilir, halledebilir, halledebilirdik, üstesinden gelebilirdik
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Birileri - Halledebilirdik Tabs
NotesX
Harmony analysis
Birileri – Halledebilirdik: key and chord analysis
The song opens on B and ends on B. 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)
- #7 = G (harmonic-minor leading tone from the V chord)
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, B is heard 26 times against 6 for G#m and the major V chord points straight at 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 |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | 26× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | 11× |
| V/vi | D# | Secondary dominant V/vi — leads to G#msecondary dominant | D# · G · A# | 2× |
| IV | E | Subdominant — moves away from home | E · G# · B | 16× |
| iv | Em | Minor iv — borrowed from the parallel minorborrowed chord | E · G · B | 8× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 17× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 6× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 6× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | 26× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | 11× |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | 2× |
| VI | E | Submediant — warm colour | E · G# · B | 16× |
| vi | Em | Chromatic colour chordoutside the key | E · G · B | 8× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 17× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 7 different chords appear 86 times in total; 5 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same D# is V/vi, a secondary dominant heading for G#m. Em is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F# B BV → Iauthentic cadence G#mVII → III ×10
- E B BIV → Iplagal cadence G#mVI → III ×7
- E F# BIV → VIV → V G#mVI → VIIVI → VII ×7
- Em B Biv → Iminor plagal G#mvi → III ×5
- F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×4
- D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×2
The move to watch is F# → B, heard 10 times. From the B side it reads V → I (authentic cadence: the strongest arrival home); from the G#m side it is VII → III. 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 B, land on B, D#, F# — 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.
- When D# comes, swap the scale's F# for G: that single note is the harmonic-minor sound of the chord.
- On Em, follow the chord's notes (E · G · B) rather than the key's scale — it's a borrowed colour.
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
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening B lays a solid floor for everything that follows. B, F#, E, D#m carry the song: I–V–IV–iii relative to B, III–VII–VI–v relative to G#m. D# is the interesting twist: in B it is a chromatic chord (V/vi), while in G#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F# → B (V → I in B, VII → III in G#m): authentic cadence — the strongest arrival home. The final chord is B; 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.
Birileri - Halledebilirdik 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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