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)
Sagopa Kajmer - Bir Ateşe Attın Beni x Kamuran Akkor - Chord
Key B major – G# minor Chords G#m, Amaj7, C#m, E, F#m Easy key G (capo 4)
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Key: B | Abm | G#m
Capo: 0
C#m G#m Amaj7 G#m C#m G#m Amaj7 G#m Diyorlar ki sen delisin, hiç bu kadar sevilir mi C#m G#m Amaj7 G#m Değmeyecek biri için, gurur yere serilir mi E Amaj7 G#m Bir ateşe attın beni, alev alev yaktın beni G#m Amaj7 F#m G#m Değersiz mi benim aşkım, yalanlara kattın beni C#m G#m Amaj7 G#m Dost üzülür, düşman güler, böyle derde gülünür mü C#m G#m Amaj7 G#m Bilseydim hiç sever miydim aşkın sonu bilinir mi C#m G#m Amaj7 G#m Umudumdun, dileğimdin, sen benim göz bebeğimdin C#m G#m Amaj7 G#m Seni kimler değiştirdi, yüreğinden attın beni E Amaj7 G#m Bir ateşe attın beni, alev alev yaktın beni G#m Amaj7 F#m G#m Değersiz mi benim aşkım, yalanlara kattın beni C#m G#m Amaj7 G#m Dost üzülür, düşman güler, böyle derde gülünür mü C#m G#m Amaj7 G#m Bilseydim hiç sever miydim aşkın sonu bilinir mi C#m G#m Amaj7 G#m (Rap kısımlarda bu akor göngüsü devam eder) Öyle bir ateşe attın ki beni Bir çalı gibi yaşadım olanı biteni göz önü Yandı ki içim hem de sorma ne biçim işittim kalbimin son gücünü bitiren o sözü Geri kalan öfkesiyle saldırsa da alev o ateşin önüne geçip oldum bir dev Ya terk et beni ya da istediğimce sev Sendin bana ev şimdi gel ve gör o ev alev alev Gözlerinden sular getir Yangınlarıma yağmur indir Dengemi rehin aldın bu ne iştir Bitecekse bu ne saçma bir bitiştir Kolaysa buna beni alıştır Kalbimi yatıştır Kırılan eskisi gibi olmaz ama gayret et yapıştır Bana yazı getir bu ne kıştır Ateşle barıştır beni güneşle tanıştır Sağ çıktığım savaştan evime dönüyorum İçimde bir kaos var uyusun diye ninni okuyorum ama nafile Sakinliğimi eğitmeliyim demiri eritmeliyim Zor da olsa gerçek bu bilmeliyim Ben deliyim onlara göre gözleri perdeliyim Sen anlat bana sevgini ben gösterdiğine inanayım Senden uzak kendime yakın yeri bulmalıyım Hislerimi alıp gidiyorum bırak yakamı seni yakmalıyım saat dilimlerini dolanıyorum tek başıma Sözlerin üzerime yürüyor yine kabaca Katlanması zor dayanır mıyım acaba Boyumu aşıyor ama verdiğim çaba Beni senden araklamalıyım ya da yeni bir ben aramalıyım Başka çare yok dediler inat ettim bulmalıyım Dedim ya ölmeden önce çiçeklerimi sulamalıyım Hoşça kal! Seni benden uğurlamalıyım.
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Sagopa Kajmer - Bir Ateşe Attın Beni x Kamuran Akkor Tabs
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Harmony analysis
Sagopa Kajmer – Bir Ateşe Attın Beni x Kamuran Akkor: key and chord analysis
The song opens on C#m and ends on G#m. 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 comes to rest on G#m and G#m is heard 26 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# | 10× |
| 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# | — |
| v | F#m | Chromatic colour chordoutside the key | F# · A · C# | 2× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 26× |
| bVIImaj7 | Amaj7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | A · C# · E · G# | 14× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 26× |
| bIImaj7 | Amaj7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | A · C# · E · G# | 14× |
| 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# | 10× |
| 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# | — |
| vii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 2× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 5 different chords appear 54 times in total; 3 of them sit naturally inside the shared scale. Amaj7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- C#m G#m Bii → vi G#miv → iminor plagal ×10
The move to watch is C#m → G#m, heard 10 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 G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over Amaj7, land on A, C#, E — 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.
- On Amaj7, follow the chord's notes (A · C# · E · G#) rather than the key's scale — it's a borrowed colour.
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
- 3 semitones up
The song's harmonic story
Starting on C#m, the song gives away its key from the very first bar. G#m, Amaj7, C#m, E carry the song: vi–bVIImaj7–ii–IV relative to B, i–bIImaj7–iv–VI relative to G#m. Amaj7 briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). 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 G#m, letting the G#m 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.
Sagopa Kajmer - Bir Ateşe Attın Beni x Kamuran Akkor 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: Sagopa KajmerMusic: Sagopa Kajmer
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