Sefo - Derdim Var - Chord

Key B major – G# minor Chords Abm, Ebm7 Easy key C

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Capo 0

Abm  Abm  Ebm7  Ebm7

           Abm              Ebm7 
Bi' derdim var, sığmaz gönlüme
           Abm              Ebm7 
Bi' derdim var, dolmuş göğsüme
          Abm               Ebm7 
Görmez ki yâr ah, tutmaz elimi o-of
       Abm             Ebm7 
Fırtınalar kopar göğsümde o-oh


Abm  Abm  Ebm7  Ebm7
(Tüm şarkı boyunca aynı akor döngüsü devam eder)

             Abm
Bırak aklıma gelmeyi aaah
                Ebm7
Hiç istemediğim yerdeyim aaah
               Abm
Her zaman da yanındayım aslında
               Ebm7
Çıkmadım ki, falındayım

                  Abm
Olmaz ki başkası, kimseden de bir yâr olmaz bana

Gözlerinde ziyan oldum
    Ebm7
Hayalimse seninle kaybolmak

Hiç bilmediğim yerde var olmak
Abm
Sadece seninle rahatım ben

Ve de kesmiyor gözüm sağı solu daha
   Ebm7
Sevgi sığmaz taşar kalbimden

Ama bilmez, aşkın hesabı olmaz

           Abm                      Ebm7
Bi' derdim var, ay, umutlar da ne diye
      
Ve çok farklı sеviye
           Abm                  Ebm7
Bi' derdim var, duyan döndü deliyе

Yarınlardan hediye

Abm
Kaderim o, öyle gördüm

En sonunda bit'çek ömrüm
Ebm7
Bak bu dünya ve sırayla döndük

İstediğiyle gezsin bende gönlü
Abm
Haberim var, her şey oldu

Bi' çiçek yaptım aşkı soldu
Ebm7
Dokuz ay yatıp bir günde doğduk

İstediğini söyle, tekdir doğru

           Abm     Ebm7
Bir derdim var, ay
           Abm     Ebm7
Bir derdim var, ay

End of song Play again?

Sefo - Derdim Var Tabs

NotesX

Harmony analysis

Sefo – Derdim Var: key and chord analysis

The song opens on Abm and ends on Ebm7. 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 18 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#	—
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	—
iii7	Ebm7	Mediant — a tonic-family shade	Eb · Gb · Bb · Db	18×
V/vi	D#	Secondary dominant V/vi — leads to Abmsecondary dominant	D# · G · A#	—
IV	E	Subdominant — moves away from home	E · G# · B	—
V	F#	Dominant — strongest pull home	F# · A# · C#	—
vi	Abm	Relative minor — the melancholy side	Ab · Cb · Eb	18×
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	Abm	Tonic — home	Ab · Cb · Eb	18×
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#	—
v7	Ebm7	Minor dominant — soft pull	Eb · Gb · Bb · Db	18×
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). 2 different chords appear 36 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

Ebm7 Abm Biii7 → vi G#mv7 → inatural-minor cadence ×15

The move to watch is Ebm7 → Abm, heard 15 times. From the G#m side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the B side it reads iii7 → 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 Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
Over Ebm7, land on Eb, Gb, Bb — 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
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

Starting on Abm, the song gives away its key from the very first bar. The chords that keep coming back are Abm, Ebm7; read them as vi–iii7 in B or i–v7 in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm7 → Abm (iii7 → vi in B, v7 → i in G#m): natural-minor cadence — gentle, modal arrival. It closes on Ebm7, 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.