Eda Baba - Ya Sen Olmasaydın - Chord

Key B major – G# minor Chords G#m, B, D#, C#m, E, F#, A#m7b5, D7 Easy key C

Add to Repertoire

No ratings yet

or your user informations

Capo 0

G#m    C#m       G#m
Gel bu gece bana gel
  C#m        G#m  A#m7b5  B     D#   E    D#
Uyumadım hiç döööndüm   bütün gece sağa sola
C#m
Gör uykunda beni gör
            G#m  A#m7b5  B       D#    E     D#             G#m
Rüyanda sarıldım sana    ve kokladım buram buram saçını okşadım

G#m   C#m       G#m   C#m       G#m A#m7b5  B    D#     E   D#
Son seferinde bana bıraktığın resimmlere  baka baka hep ağladım
C#m                              G#m A#m7b5  B    D#
Sen düşünme beni hiç önemli olan saadece   kavuşmamız
     E  D#                G#m
Ne yapardım ya sen olmasaydın

        B  F#      G#m     F#  B  F#      E
Hiç  bilmeeez bu şehir hiç anlamaaaz bu şehir
    F#   C#m              E             B  D7
Hiç görmedi seni hiç görmedi bizi birlikte

G#m  C#m       G#m    C#m       G#m  A#m7b5   B    D#     E   D#
Çok uzun bir zamanı geride bıraktık ama     kimi zaman da ayrıyız
   C#m
Bu kez daha da uzun sürecek
            G#m   A#m7b5   B   D#    E   D#            G#m
Ayrı ayrı geçen o her    günü ilerde her an hatırlayacağız

        B  F#      G#m     F#  B  F#      E
Hiç  bilmeeez bu şehir hiç anlamaaaz bu şehir
    F#   C#m              E             B  D7
Hiç görmedi seni hiç görmedi bizi birlikte

End of song Play again?

Eda Baba - Ya Sen Olmasaydın Tabs

NotesX

Harmony analysis

Eda Baba – Ya Sen Olmasaydın: key and chord analysis

The song opens on G#m and ends on D7. 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)
#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 G# minor side because it opens on G#m, G#m is heard 17 times against 12 for B and the major V chord points straight at G#m. 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#	12×
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	11×
bIII7	D7	Borrowed from the parallel minorborrowed chord	D · F# · A · C	2×
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#	12×
IV	E	Subdominant — moves away from home	E · G# · B	10×
V	F#	Dominant — strongest pull home	F# · A# · C#	8×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	17×
viiø7	A#m7b5	Leading-tone chord — tension	A# · C# · E · G#	6×

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	G#m	Tonic — home	G# · B · D#	17×
iiø7	A#m7b5	Supertonic — prepares the dominant	A# · C# · E · G#	6×
III	B	Relative major — the bright side	B · D# · F#	12×
iv	C#m	Subdominant — moves away from home	C# · E · G#	11×
#IV7	D7	Chromatic colour chordoutside the key	D · F# · A · C	2×
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#	12×
VI	E	Submediant — warm colour	E · G# · B	10×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	8×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 8 different chords appear 78 times in total; 6 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. D7 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C#m G#m Bii → vi G#miv → iminor plagal ×9
D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×3
F# B BV → Iauthentic cadence G#mVII → III ×2
F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×2
E B BIV → Iplagal cadence G#mVI → III ×2
E F# BIV → VIV → V G#mVI → VIIVI → VII ×2

The move to watch is C#m → G#m, heard 9 times. From the G#m side it is iv → i (minor plagal: deep and melancholic); from the B side it reads ii → 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 G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over D#, land on D#, G, A# — 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 D7, follow the chord's notes (D · F# · A · C) 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
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The first chord is G#m; the ear learns where home is within a second. G#m, B, D#, C#m carry the song: vi–I–V/vi–ii relative to B, i–III–V–iv 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 C#m → G#m (ii → vi in B, iv → i in G#m): minor plagal — deep and melancholic. It closes on D7, letting the B side have the last word.

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.