Ezhel - Bi Sonraki Hayatimda Gel (Murda) - Chord

Key B major – G# minor Chords D#m7, E, C#m7, F# Easy key C

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Capo 0

D#m7  E                            D#m7
        E güzel bellidir gelişinden
C#m7                         D#m7
 Görünce alır aklını başından
E                          D#m7
 Neye yarar gitsen peşinden
            C#m7
 Varken, varken
                       D#m7
 Kalbinde başka bi insaan
                E
Bugüne değil kısmet
           F#        D#m7
Bi sonraki hayatımda gel
                          C#m7
Öyle bakıp yapma bana nispet
           F#        D#m7
Bi sonraki hayatımda gel
                         E
Belli ki sende de var istek
           F#        D#m7
Bi sonraki hayatımda gel
            E
Elveda maalesef
           F#        D#m7
Bi sonraki hayatımda gel

                C#m7
Onu bağışla sahibine
                D#m7
Bağışla onu sahibine
                            E
Yeter ki bi gün kum olduğunda
                 D#m7
Gel deniz ol sahilimde
                       C#m7
Kaybolan bikininin maviliğinde
                               D#m7
Mamacita muy bonita, konuşam dilinde
                             C#m7
Sevişelim bedenlerimizin haricinde

                            D#m7
Sus, sus, sus, konuşma bi dinle
                       E
Only senin adın hâlâ dilimde
                     D#m7
Tarih var onu bari silme
                     E
Sevişelim Bodrum sahilinde
               D#m7
Yeah yeah, sahilinde
                           C#m7
Sitemleri bırak, oralara girme
                      D#m7
Gitme, bırakma, kal dibimde
                          C#m7
Sevemez seni benim gibi kimse
                      D#m7
Sensiz ev bile değil evimde

                E
Bugüne değil kısmet
           F#        D#m7
Bi sonraki hayatımda gel
                          C#m7
Öyle bakıp yapma bana nispet
           F#        D#m7
Bi sonraki hayatımda gel
                         E
Belli ki sende de var istek
           F#        D#m7
Bi sonraki hayatımda gel
            E
Elveda maalesef
           F#        D#m7
Bi sonraki hayatımda gel

D#m7
Suyu ak, sanki Sezen
                   C#m7
Kafamdakileri sana desem, yeah
                D#m7
Yeni Gucci yeni desen
                      E
All white drip, sanki kefen, yeah

            D#m7
Yaktın beni öldürdün
               C#m7
Yakışıyo' sana özgürlük
            D#m7
Yazdım seni kalbime ben
               E
Okudum shawty, döktürdüm

           D#m7
Tüm ruhumu söktün dün
                  E
Tam 21 gram eksik ölçtürdün
                        D#m7
Sen bekle, su içip seni öksürsün
                         E
Gelip söksün, işim gücüm gönlüm
                           D#m7
Bi' sonraki ömrüm gör beni lütfen
                              C#m7
İsterse elimden alınsın bütün süksem
                             D#m7
Gel benle yüksel, dudakların iksir

O nası' mimikler
              E
Sen bi' fidan olsan her yere seni diksem
       D#m7
Serpil filizlen, eh

                E
Bugüne değil kısmet
           F#        D#m7
Bi sonraki hayatımda gel
                          C#m7
Öyle bakıp yapma bana nispet
           F#        D#m7
Bi sonraki hayatımda gel
                         E
Belli ki sende de var istek
           F#        D#m7
Bi sonraki hayatımda gel
            E
Elveda maalesef
           F#        D#m7
Bi sonraki hayatımda gel

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Ezhel - Bi Sonraki Hayatimda Gel (Murda) Tabs

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Harmony analysis

Ezhel – Bi Sonraki Hayatimda Gel (Murda): 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.

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: we can't honestly pick a side here — the song moves freely between B major and G# minor. Try reading the chords both ways and see which feels more like home to you.

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#	—
ii7	C#m7	Supertonic — prepares the dominant	C# · E · G# · B	13×
iii7	D#m7	Mediant — a tonic-family shade	D# · F# · A# · C#	34×
III	D#	Chromatic colour chordoutside the key	D# · G · A#	—
IV	E	Subdominant — moves away from home	E · G# · B	19×
V	F#	Dominant — strongest pull home	F# · A# · C#	12×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	—
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#	—
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	—
iv7	C#m7	Subdominant — moves away from home	C# · E · G# · B	13×
v7	D#m7	Minor dominant — soft pull	D# · F# · A# · C#	34×
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	—
VI	E	Submediant — warm colour	E · G# · B	19×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	12×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 78 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

E F# BIV → VIV → V G#mVI → VIIVI → VII ×9
C#m7 F# Bii7 → Vii → V G#miv7 → VII ×3

The move to watch is E → F#, heard 9 times. From the B side it reads IV → V (IV → V: the lift that builds tension before home); from the G#m side it is VI → 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 E, land on E, G#, B — 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.

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
3 semitones up

The song's harmonic story

The first chord is D#m7; the ear learns where home is within a second. The chords that keep coming back are D#m7, E, C#m7, F#; read them as iii7–IV–ii7–V in B or v7–VI–iv7–VII in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → F# (IV → V in B, VI → 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.