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)
Eftalya - Sevmiş Gibi LVBEL C5 - Chord
Key B major – G# minor Chords G#m, E, C#m, D# Easy key C
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Key: B | Abm | G#m
Capo: 0
G#m E C#m D#
G#m
Sabrım sabrım yok artık
E
Sustum sustum konuştular
C#m
Kızgın kalmaksa hakkım
D#
Yorgun attığım adımlar
G#m E
Sırtımda bıçakların sordum ben artık kaç yaşındayım
C#m D#
Büsbütün intihar benim tehlikem içip zehirlensek de
G#m E
Uyandım sandım dönemem bir daha sana
C#m D#
Kaybolmuşum şu insanların arasında
G#m E C#m
Kalabalık sokaklarda aradım kendimi
D#
Bulamam
G#m
Sevmiş gibi gözlerin
E
İçimdeki izleri sildim bile
C#m D#
Senleyim etkisi geçmez gibi
G#m
Sustu tüm dünya
E
Duydu sessizlik
C#m D#
Doldu huzuru verseler bana
G#m E C#m D#
Aynı döngü devam eder
Elimde koca bi şişe baby shake
Altımda porsche yukarıda private jet
Lvbel C5 baba gözlerimde hep çiçek
Süzül süzül baba , evet yani video çek.
Kafaları dik ve karşısında ben
Bebeklerim vip ve inanılmaz bel
Nolur hadi git yada yakınıma gel
Evet kötü his ama hava mükemmel
Ey güzel günler benden fazla uzak
Yollardayım ama yine tuzak
Güzel güllerin hepside solar
Bildim onu ondan ettim dua
Yollardayım Lvbel C5 tamam
Gördüm her şey bunlar bana kalan
Dostum nerde ? Dostum olmuş yalan
Yok mu gören yada beni duyan
OOO yokmu gören duyan birileri hiç
ooo biliyosun devamında yaratıyom film..
Sevmiş gibi gözlerin
İçimdeki izleri sildim bile
Senleyim etkisi geçmez gibi
Sustu tüm dünya
Duydu sessizlik
Doldu huzuru verseler bana.
End of song Play again?
Eftalya - Sevmiş Gibi LVBEL C5 Tabs
NotesX
Harmony analysis
Eftalya – Sevmiş Gibi LVBEL C5: 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 8 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# | 8× |
| 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# | 8× |
| IV | E | Subdominant — moves away from home | E · G# · B | 8× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 8× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 8× |
| 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# | 8× |
| 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# | 8× |
| VI | E | Submediant — warm colour | E · G# · B | 8× |
| 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). 4 different chords appear 32 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
- C#m D# Bii → V/vi G#miv → Viv → V ×8
- D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×7
The move to watch is C#m → D#, heard 8 times. From the G#m side it is iv → V (iv → V: the minor side's tension builder); from the B side it reads ii → V/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.
- Over C#m, land on C#, E, G# — 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
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The opening G#m lays a solid floor for everything that follows. The chords that keep coming back are G#m, E, C#m, D#; read them as vi–IV–ii–V/vi in B or i–VI–iv–V in 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 → D# (ii → V/vi in B, iv → V in G#m): iv → V — the minor side's tension builder. The final chord is D#; 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.
Eftalya - Sevmiş Gibi LVBEL C5 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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