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)
Mavi Solman - Labirent - Chord
Key B major – G# minor Chords B, E Easy key A (capo 2)
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Key: B | Abm | G#m
Capo: 0
E E B B
E
Özür dile, hepsi diyor bana zır deli
B
Aşkını fısıldayıp sır dedin
Görmek istiyorum üzülmeni
B E
Nasıl hesap veriyorsun kalbine
Anlatamıyorum ben anneme
B
Çünkü seni atlatamıyorum sen gibi
Bilmek istiyorum beni özlediğini
E
Sen bari yalan söyleme
Bana derdin onları dinleme
B
Bugün yanımda olmasan bile
Kokun yatağımın bir yerinde hala
E
Bardağım dolu kafam ondan daha da
Kim var donuk bakışının ardında
B
Bebeğin hep telefonun ucunda
Aklının ucundaysam hiç yanımdan ayrılma
E
Gözüm dolu kafam ondan daha dolu
Sen bi’ labirentsin denedim her yolu
B
Deniyorum ama biliyorum sonunu
Belki sorun bu
E
Sarar kokun rüyalarımı, korkum odalarımı
B
Sarardın yaralarımı, düşünmüyorum anladığını
E
Hüznüm karşıma neşe
Düştüm aşkının dehşetine
B
Sabah oldu dudağın beşe
Korkma kalbime ateş et
E
Teğet geçmediyse tetikteki marifet
Bebek beslediysem seni artık beni sevme
B
Pes, endişem için duyuyorsan endişe
Bir mesken olur kalbin kalbimdeki ateşe
End of song Play again?
Mavi Solman - Labirent Tabs
NotesX
Harmony analysis
Mavi Solman – Labirent: key and chord analysis
The song opens on E and ends on B. 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 B major side because it comes to rest on B and B is heard 11 times while G#m never appears. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.
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# | 11× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| III | D# | Chromatic colour chordoutside the key | D# · G · A# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | 10× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | — |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| 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# | 11× |
| 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 | 10× |
| 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 21 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 B BIV → Iplagal cadence G#mVI → III ×9
The move to watch is E → B, heard 9 times. From the B side it reads IV → I (plagal cadence: the soft 'amen' ending); from the G#m side it is VI → III. 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 B, land on B, D#, F# — 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
Starting on E, the song gives away its key from the very first bar. The backbone is B, E — I–IV from the B side, III–VI from the G#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → B (IV → I in B, VI → III in G#m): plagal cadence — the soft 'amen' ending. Ending on B, 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.
Mavi Solman - Labirent 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: Mavi SolmanMusic: Mavi
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