Tekir - Ve Birimiz Öldü - Chord

Key B major – G# minor Chords G#m7, D#m7, C#m7, Bmaj7 Easy key C

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Capo 0

Ceren Gündoğdu versiyon: Em - G

G#m7  D#m7  C#m7  Bmaj7

   G#m7                 D#m7
Ve birimiz öldü, o evin ışığı söndü
           C#m7                   Bmaj7
O bana hiç dönmedi, ama ben onsuz mecnuna döndüm
   G#m7                 D#m7
Ve birimiz öldü, o evin ışığı söndü
             C#m7                               Bmaj7
"Bu beni son görüşün, elveda..." dedi ve beni tam oraya gömdü

G#m7
Bir ömre sığmayacak gibisin
D#m7
Yanındayken mühim değil gerisi
C#m7
Kalbim kara tahta, sense tebeşir
      Bmaj7
Yazma boşuna, bence sen de herkes gibi sil 

G#m7
Nasıl da masumduk, korkusuz korkak
D#m7
Bi kuble zerafettik, bi kuble zorba
C#m7
Bi ruhu ziyan ettin, devam et durma
Bmaj7
Durman neye delalet ki? Ayakların yolda

G#m7
Bazen ummadığım yerde kokun gelir burnuma
D#m7
Dokun gelip ruhuma, yokum delir uğruma
C#m7                                     Bmaj7
Düşüncemi sorgula, zor gelir hep yorguna herşey

İçim dışım kor duman

G#m7
Artık değer mi? Sanmam
D#m7
Öpsen geçer mi? Sanmam
C#m7
Mücadelem boşaymış, anladım bak
Bmaj7
Sonunda bitti senin için olan kavgam

   G#m7                 D#m7
Ve birimiz öldü, o evin ışığı söndü
           C#m7                   Bmaj7
O bana hiç dönmedi, ama ben onsuz mecnuna döndüm
   G#m7                 D#m7
Ve birimiz öldü, o evin ışığı söndü
             C#m7                               Bmaj7
"Bu beni son görüşün, elveda..." dedi ve beni tam oraya gömdü

End of song Play again?

Tekir - Ve Birimiz Öldü Tabs

NotesX

Harmony analysis

Tekir – Ve Birimiz Öldü: key and chord analysis

The song opens on G#m7 and ends on Bmaj7. 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: we can't honestly pick a side here — the song moves freely between B major and G# minor because it comes to rest on B and it opens on G#m. Try reading the chords both ways and see which feels more like home to you.

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#	9×
ii7	C#m7	Supertonic — prepares the dominant	C# · E · G# · B	9×
iii7	D#m7	Mediant — a tonic-family shade	D# · F# · A# · C#	9×
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	—
V	F#	Dominant — strongest pull home	F# · A# · C#	—
vi7	G#m7	Relative minor — the melancholy side	G# · B · D# · F#	9×
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i7	G#m7	Tonic — home	G# · B · D# · F#	9×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
IIImaj7	Bmaj7	Relative major — the bright side	B · D# · F# · A#	9×
iv7	C#m7	Subdominant — moves away from home	C# · E · G# · B	9×
v7	D#m7	Minor dominant — soft pull	D# · F# · A# · C#	9×
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	—
VI	E	Submediant — warm colour	E · G# · B	—
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 36 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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#m7, land on G#, B, D# — 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.
Over C#m7, 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

The first chord is G#m7; the ear learns where home is within a second. G#m7, D#m7, C#m7, Bmaj7 carry the song: vi7–iii7–ii7–Imaj7 relative to B, i7–v7–iv7–IIImaj7 relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Bmaj7, 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.