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)
Sibel Can - Ah Be Yarim - Chord
Key B major – G# minor Chords D#m7, C#m7, Emaj7, F#, Bmaj7, G#m Easy key C
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Key: B | Abm | G#m
Capo: 0
D#m7 C#m7 F# C#m7 Bmaj7 C#m7 D#m7
D#m7 Emaj7 D#m7
Kime kаlmış bize kаlsın şu yаlаn dünyа
Emaj7 D#m7
Beni böyle kırdığınа değdi mi yаrim
F# C#m7 Emaj7 D#m7
Görmediğin bir gün bile özlerdin oysа
G#m D#m7 C#m7 Bmaj7
Sen ne zаmаn böyle zаlim oldun be yаrim
Emaj7 D#m7 C#m7 D#m7
Sen ne zаmаn böyle zаlim oldun be yаrim
D#m7 Emaj7 F#
Ah be yаrim sаnа şimdi kızsаm bir türlü
D#m7 Emaj7 F#
Ah be yаrim sаğа solа çаtsаm bir türlü
G#m D#m7 F# C#m7
Seni böyle seviyorken için için yаnıyorken
Emaj7 Bmaj7 C#m7 D#m7
Bu bаşımı аlıp dа ben kаçsаm bir türlü
D#m7 Emaj7 F#
Ah be yаrim sаnа şimdi kızsаm bir türlü
D#m7 Emaj7 F#
Ah be yаrim sаğа solа çаtsаm bir türlü
G#m D#m7 F# C#m7
Seni böyle seviyorken için için yаnıyorken
Emaj7 Bmaj7 C#m7 D#m7
Bu bаşımı аlıp dа ben kаçsаm bir türlü
D#m7 C#m7 F# C#m7 Bmaj7 C#m7 D#m7
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Sibel Can - Ah Be Yarim Tabs
NotesX
Harmony analysis
Sibel Can – Ah Be Yarim: key and chord analysis
The song opens on D#m7 and ends on D#m7. 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 B major side because B is heard 5 times against 3 for 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 |
|---|---|---|---|---|
| Imaj7 | Bmaj7 | Tonic — home | B · D# · F# · A# | 5× |
| ii7 | C#m7 | Supertonic — prepares the dominant | C# · E · G# · B | 13× |
| iii7 | D#m7 | Mediant — a tonic-family shade | D# · F# · A# · C# | 19× |
| V/vi | D# | Secondary dominant V/vi — leads to G#msecondary dominant | D# · G · A# | — |
| IVmaj7 | Emaj7 | Subdominant — moves away from home | E · G# · B · D# | 10× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 9× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 3× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 3× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| IIImaj7 | Bmaj7 | Relative major — the bright side | B · D# · F# · A# | 5× |
| iv7 | C#m7 | Subdominant — moves away from home | C# · E · G# · B | 13× |
| v7 | D#m7 | Minor dominant — soft pull | D# · F# · A# · C# | 19× |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VImaj7 | Emaj7 | Submediant — warm colour | E · G# · B · D# | 10× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 9× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 6 different chords appear 59 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
- Emaj7 F# BIVmaj7 → VIV → V G#mVImaj7 → VIIVI → VII ×4
- F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×2
- Emaj7 Bmaj7 BIVmaj7 → Imaj7plagal cadence G#mVImaj7 → IIImaj7 ×2
- C#m7 F# Bii7 → Vii → V G#miv7 → VII ×2
- D#m7 G#m Biii7 → vi G#mv7 → inatural-minor cadence ×1
The move to watch is Emaj7 → F#, heard 4 times. From the B side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the G#m side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). 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 D#m7, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
- Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Emaj7, 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 opening D#m7 lays a solid floor for everything that follows. D#m7, C#m7, Emaj7, F# carry the song: iii7–ii7–IVmaj7–V relative to B, v7–iv7–VImaj7–VII relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Emaj7 → F# (IVmaj7 → V in B, VImaj7 → VII in G#m): IV → V — the lift that builds tension before home. The final chord is D#m7; 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.
Sibel Can - Ah Be Yarim 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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Lyrics: Murat SağırMusic: Murat SağırArrangement: Emre Moğulkoç
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