Mavi Gri - Bir Şehri Sevmek (Simge Ozan Bayraşa) - Chord

Key B major – G# minor Chords G#m, C#m7, D#m7, Emaj7 Easy key C

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Capo 0

G#m                   C#m7
Ben bu korkuyu bir türlü yenemiyorum
   D#m7                     Emaj7
Hiçbir kere içimden söküp de halledemiyorum
    G#m             C#m7
Denedim oysa defalarca yine denedim
   D#m7                      Emaj7
Kurşun gibi göğsüme saplanmış çıkaramıyorum

G#m 
Kimseler anlamıyor beni
C#m7
Zaman olmadı öğretmenim
D#m7                     Emaj7
Sen bu acıyı bir de bana sor 

G#m 
Geçmişe takılıp kalmışım 
C#m7
Aklımı nelerle yormuşum 
D#m7
Beceremiyorum şu yaşamayı 
Emaj7
Beceremiyorum

G#m    C#m7
Ardına bakma diyorsun öyle sever gibi
D#m7     Emaj7
Arkamdan ağlama ne olur dik durabilmeyi
G#m      C#m7
Sen öğrettin aşkı bana bu şehri sevmeyi
D#m7    Emaj7
Keşke öğrenseydim sensiz kalabilmeyi 

G#m   C#m7  D#m7  Emaj7

G#m                 C#m7
Senle doğmuşum seninle ölemiyorum 
    D#m7                         Emaj7
Başucumda resmin gülümsüyor bana ben gülemiyorum 
    G#m 
Büyüyünce geçer mi acım 
     C#m7
O da benimle büyür mü
       D#m7
Ne bileyim hiç denemedim 
          Emaj7
Bu yol sensiz yürünür mü

G#m    C#m7
Ardına bakma diyorsun öyle sever gibi
D#m7     Emaj7
Arkamdan ağlama ne olur dik durabilmeyi
G#m      C#m7
Sen öğrettin aşkı bana bu şehri sevmeyi
D#m7    Emaj7
Keşke öğrenseydim sensiz kalabilmeyi

End of song Play again?

Mavi Gri - Bir Şehri Sevmek (Simge Ozan Bayraşa) Tabs

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Harmony analysis

Mavi Gri – Bir Şehri Sevmek (Simge Ozan Bayraşa): key and chord analysis

The song opens on G#m and ends on Emaj7. 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 11 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#	—
ii7	C#m7	Supertonic — prepares the dominant	C# · E · G# · B	11×
iii7	D#m7	Mediant — a tonic-family shade	D# · F# · A# · C#	11×
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#	11×
V	F#	Dominant — strongest pull home	F# · A# · C#	—
vi	G#m	Relative minor — the melancholy side	G# · B · D#	11×
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#	11×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	—
iv7	C#m7	Subdominant — moves away from home	C# · E · G# · B	11×
v7	D#m7	Minor dominant — soft pull	D# · F# · A# · C#	11×
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#	11×
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 44 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

Emaj7 G#m BIVmaj7 → vi G#mVImaj7 → iVI → i ×10

The move to watch is Emaj7 → G#m, heard 10 times. From the G#m side it is VImaj7 → i (VI → i: falls a half step into home); from the B side it reads IVmaj7 → 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 C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over D#m7, land on D#, F#, A# — 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

The opening G#m lays a solid floor for everything that follows. The chords that keep coming back are G#m, C#m7, D#m7, Emaj7; read them as vi–ii7–iii7–IVmaj7 in B or i–iv7–v7–VImaj7 in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Emaj7 → G#m (IVmaj7 → vi in B, VImaj7 → i in G#m): VI → i — falls a half step into home. The final chord is Emaj7; 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.