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)
Velet - Uçurumlar - Chord
Key B major – G# minor Chords G#m, E Easy key G (capo 4)
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Key: B | Abm | G#m
Capo: 0
G#m E G#m E Tüm şarkı boyunca aynı döngü devam eder Unutmam seni Dün gibi dağıtman bizi Toprağa gözyaşın değer Yeşerir fidan umutlar gibi Doğruyu kanıtlar gibi Yanlışa susarsam ağıtlar gelir Boğulur bir gün huzur Diktiğin saksılar ayıplar seni Vazgeç deme yolundan Veda şarkısı gibiyim yorulmam Beni ben iyi bilirim ve bunu teyit ederim Yaşanan onca dert bugüne ders gibidir Karakollara mühtelifim Kapalı bir gün ya da sen ne diyim Derin kuyuların içine düşmemeliyim Kalbim zayıf yine sönmemeliyim Bak bilirsin olanların sonu uçurum Kırılmış kanatlarım dön evine Bu defa yanan benim budur sorunum Yağarken korkularım üzerime Bak bilirsin olanların sonu uçurum Kırılmış kanatlarım dön evine Bu defa yanan benim budur sorunum Yağarken korkularım üzerime Ne sandın canım böyle bi dünya Bıçak gibi tüm aksi durumlar Yürüyorum inadına göremiyorum sonumu Biliyorum amacıma varamadım ama daha değil Kötü günleri geride bıraktım O gülleri at yere yok bi inancım Araf oldu bu ruhuma dünya Para şan şöhreti geride bıraktım Sonumu göremiyorum Bitişe varamıyorum Bi neden aramıyorum Durmadan aranıyorum Pek ayık kalamıyorum Aksine bayılıyorum Gözlerim kararıyodu Gördün ya Bak bilirsin olanların sonu uçurum Kırılmış kanatlarım dön evine Bu defa yanan benim budur sorunum Yağarken korkularım üzerime Bak bilirsin olanların sonu uçurum Kırılmış kanatlarım dön evine Bu defa yanan benim budur sorunum Yağarken korkularım üzerime
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Velet - Uçurumlar Tabs
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Harmony analysis
Velet – Uçurumlar: key and chord analysis
The song opens on G#m and ends on E. 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 G# minor side because it opens on G#m and G#m is heard 2 times while B never appears. 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# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | 2× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 2× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 2× |
| 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# | — |
| VI | E | Submediant — warm colour | E · G# · B | 2× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | — |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 2 different chords appear 4 times in total; 2 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 G#m BIV → vi G#mVI → iVI → i ×1
The move to watch is E → G#m, heard once. From the G#m side it is VI → i (VI → i: falls a half step into home); from the B side it reads IV → 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 E, 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
- 4 semitones down · capo 4 keeps the original pitch
- 1 semitone up
The song's harmonic story
Starting on G#m, the song gives away its key from the very first bar. The chords that keep coming back are G#m, E; read them as vi–IV in B or i–VI in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → G#m (IV → vi in B, VI → i in G#m): VI → i — falls a half step into home. Ending on E, the song seals B as home.
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.
Velet - Uçurumlar 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: VeletMusic: Berk Kirtiş
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