Emre Fel - Veda Türküsü - Chord

Key B major – G# minor Chords D#m, G#m, C#m, Emaj7 Easy key C

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Capo 0

G#m                    D#m
Döndüm yar vurgunum ecele
                  Emaj7
Sevda sürgünü geceme serdi
        D#m
Yüreğim dağlanır, ağlarım
C#m            G#m
Bu veda türküsüne

G#m           D#m
Sevdim yalan oldum
         C#m              D#m
Ne idi günahım da böyle süründüm
   G#m          D#m
Bu rüya bende hüzünlü
         C#m                    D#m
Aşk ne yalanmış ya beni en dibe gömdü

   C#m  D#m   Emaj7
Ya al götür beni 
    C#m             D#m       G#m
Ama kal da dinle bu sahi sözlerim

G#m                    D#m
Döndüm yar vurgunum ecele
                  Emaj7
Sevda sürgünü geceme serdi
        D#m
Yüreğim dağlanır, ağlarım
C#m             G#m
Kader adımı derine gömdü
            D#m
Gülemem yüzüne
                  Emaj7
Gönlüm bin türlüsüne söndü
        D#m
Yüreğim dağlanır, ağlarım
C#m            G#m
Bu veda türküsüne

D#m            Emaj7   D#m    C#m
Yok olamaz yeniden yanamam derim ama

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Emre Fel - Veda Türküsü Tabs

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Harmony analysis

Emre Fel – Veda Türküsü: key and chord analysis

The song opens on G#m and ends on C#m. 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: to us the song feels closer to the G# minor side because it opens on G#m and G#m is heard 8 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.

Seen from B major
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#	14×
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#	5×
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	—

Seen from G# minor
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#	14×
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#	5×
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 35 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

C#m G#m Bii → vi G#miv → iminor plagal ×3
D#m G#m Biii → vi G#mv → inatural-minor cadence ×2

The move to watch is C#m → G#m, heard 3 times. From the G#m side it is iv → i (minor plagal: deep and melancholic); from the B side it reads ii → 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 D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
Over G#m, land on G#, B, D# — 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.

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

Starting on G#m, the song gives away its key from the very first bar. The chords that keep coming back are D#m, G#m, C#m, Emaj7; read them as iii–vi–ii–IVmaj7 in B or v–i–iv–VImaj7 in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C#m → G#m (ii → vi in B, iv → i in G#m): minor plagal — deep and melancholic. It closes on C#m, 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.