Tekir - Yarabesk - Chord

Key B major – G# minor Chords Emaj7, D#m, G#m, Bmaj7 Easy key C

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Capo 0

Emaj7                          D#m
She brought life, opened up my eyes
                                  D#m
She was fine, and she could be my wife in my time
                 Bmaj7          
I had never seen anything like it, but I like it

Emaj7    G#m                D#m
Kalbimde hem takıntım hem yıkıntım
                        Emaj7
Sen hayat sınavımın tek şıkkısın
                        D#m
Geldiğinde yüreğime bir bıkkıntı
                           Emaj7
Sensin tüm duygularımın çıktısı

Emaj7   G#m             D#m
Alnımda kara yazımsın silinmez
                              Emaj7
Yanımda kal bana lazımsın hiç gitme
                        D#m
Sürdüğüm sefaların biri binken
                         Emaj7
Çektiğim cefalarım hiç bilinmez

Emaj7    G#m                   D#m
Farketmez, birgün kaybetsem de herşeyi
                 Emaj7
Yine kaybetmem asla seni
                     D#m
Senle çektik biz tüm dertleri

G#m                       D#m
Arabesk, yine sardı bütün yaralarımı
   Emaj7    D#m                   Emaj7
Arabesk, arabesk, yüreğimde Yarabesk

Emaj7  G#m                D#m
Aga be, erken soldu bütün umutlarımız
   Emaj7      D#m                    Emaj7
Arabesk, arabesk, bu yüzden hep arabesk

G#m                       D#m
Arabesk, yine sardı bütün yaralarımı
   Emaj7    D#m                   Emaj7
Arabesk, arabesk, yüreğimde yarabesk

Emaj7  G#m                D#m
Aga be, erken soldu bütün umutlarımız
   Emaj7    D#m                      Emaj7
Arabesk, arabesk, bu yüzden hep arabesk

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Tekir - Yarabesk Tabs

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Harmony analysis

Tekir – Yarabesk: key and chord analysis

The song opens on Emaj7 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 G#m is heard 7 times against 1 for B. 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
Imaj7	Bmaj7	Tonic — home	B · D# · F# · A#	1×
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	—
iii	D#m	Mediant — a tonic-family shade	D# · F# · A#	16×
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#	19×
V	F#	Dominant — strongest pull home	F# · A# · C#	—
vi	G#m	Relative minor — the melancholy side	G# · B · D#	7×
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#	7×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
IIImaj7	Bmaj7	Relative major — the bright side	B · D# · F# · A#	1×
iv	C#m	Subdominant — moves away from home	C# · E · G#	—
v	D#m	Minor dominant — soft pull	D# · F# · A#	16×
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#	19×
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 43 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 ×6
D#m G#m Biii → vi G#mv → inatural-minor cadence ×1

The move to watch is Emaj7 → G#m, heard 6 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 Emaj7, land on E, G#, B — the chord's own tones always sound right on strong beats.
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.

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 Emaj7, the song gives away its key from the very first bar. Emaj7, D#m, G#m, Bmaj7 carry the song: IVmaj7–iii–vi–Imaj7 relative to B, VImaj7–v–i–IIImaj7 relative to 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.