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)
No.1 - Kör (Melis Karaduman) - Chord
Key B major – G# minor Chords G#m, F#, D#, E Easy key C
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Key: B | Abm | G#m
Capo: 0
G#m F# E D#
G#m
Gelsin, hepsi de gelsin
F#
Üstüme sorunların üstesinden geldim
E
Sandığının tersi, içtiğini biçersin
D#
Cezbeden bi’ günah mısın? lanet güzelsin!
G#m
Çekil kenara bu hasta ağır değil ağırdan
F#
Aldı kanımdaki dalga ruhumdan mı ağır lan?
E
Dün bi’ rüya gördüm, dayanmıştım kapına
D#
Güzel şeyler söylüyorum bağıra çağıra
G#m
Silemedim karaladım gölgemdeki canavar
F#
İçimde bi’ kan ama alma daha canı var
E
Hangi suratına kapansın ulan bu kapılar
D#
Anahtarım olsa bile açamazdım ya, ha
G#m
Yıllardır karanlıkta kayıp
F#
Dünya böyle dönüyo’ken sözlerim mi ayıp?
E
Gömleklerim yırtık, gözlüklerim kayıp
D#
Beni artık ayıkmayın kayıp oldu kayık
G#m F#
Bugün de devran dönmeez
E D#
Tanrı beni görmeez
G#m F#
Yüzüm bi’ gün gülmeez
G#m
Yanar atеşim sönmeez
D#
Bi’ gün daha böyle geçmеz, geçmez
G#m F# E D#
Geleceğini si.ersin geçmişi silerken
Sandığının tersi, no. 1, no mercy
Gerçekler acıdır, acıyı seversen
Selfie’ye gülerken aynaya söversin
Tekin değilken sokaklar tekin miyim delinin?
İzliyorum ekranı içindeyim filimin
fakat duyamazsın ruhumdaki sireni
keşke ak’lımda kalsaydın ucundasın dilimin
Kendimi kaybedeli yıllar oldu bu o’nu
Rap savaşı çocuk ışi ve
Bok yolunda pırlantayla koştursanız ne olur?
Gözlerimiz kan ama sizinkiler su dolu
Sen git oyna sudoku
Kaç yerinden delindiğini sayamadım bu kotun
Yemekleri ısıtın, tabakları soğutun
Mutlu günler göreceğim kör olduğumu unutup
Zarlar hep 1 kazanan olsun
Ne olur artık şansım dönsün
Ama ben 11, zarları gömdüm
Yüzüme gülüyo’sun sanki körsün
Zarlar hep 1 kazanan olsun
Ne olur artık şansım dönsün
Ama ben 11, zarları gömdüm
Yüzüme gülüyo’sun
G#m F#
Bugün de devran dönmeez
E D#
Tanrı beni görmeez
G#m F#
Yüzüm bi’ gün gülmeez
G#m
Yanar atеşim sönmeez
D#
Bi’ gün daha böyle geçmеz, geçmez
End of song Play again?
No.1 - Kör (Melis Karaduman) Tabs
NotesX
Harmony analysis
No.1 – Kör (Melis Karaduman): key and chord analysis
The song opens on G#m and ends on D#. 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 G# minor side because it opens on G#m, G#m is heard 12 times while B never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | — |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| 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# | 10× |
| IV | E | Subdominant — moves away from home | E · G# · B | 8× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 10× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 12× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 12× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | — |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| 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# | 10× |
| VI | E | Submediant — warm colour | E · G# · B | 8× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 10× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 40 times in total; 3 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.
Chord movement
- D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×9
- F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×2
The move to watch is D# → G#m, heard 9 times. From the G#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the B side it reads V/vi → 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 F#, land on F#, A#, C# — 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.
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
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on G#m, the song gives away its key from the very first bar. The backbone is G#m, F#, D#, E — vi–V–V/vi–IV from the B side, i–VII–V–VI from the G#m side. 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 D# → G#m (V/vi → vi in B, V → i in G#m): harmonic-minor cadence — the major V resolves dramatically. It closes on D#, 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.
No.1 - Kör (Melis Karaduman) 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: No.1
Melis KaradumanMusic: No.1
Melis KaradumanMusic: No.1
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