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)
Gece - Derbeder - Chord
Key B major – G# minor Chords G#m, Bb, D#m, F# Easy key F (capo 6)
No ratings yet
or your user informations
Make it yours
Text size
Key: B | Abm | G#m
Capo: 0
D#m F#
Korkma bu da geçer
G#m Bb
Bırak bizim adımız derbeder olsun
D#m F#
Gün olur devran döner
G#m Bb
Şimdilik adımız derbeder olsun
D#m F# G#m Bb
Gözlerimi unuttum sende
D#m F# G#m Bb
Çok gittin biraz gelsene
D#m
Hayat bu işte bazen çıkar rayından
F# G#m Bb
Makasları ters düşer ve çeviremezsin
D#m
Kim demiş ki aklın yolu bir tanedir
F# G#m Bb
Bence nerden baksan en az bin tanedir
G#m Bb
Aynı rüyaya baktığımız
G#m Bb
Farklı aynalar da kalbimizi kırdığımız
End of song Play again?
Gece - Derbeder Tabs
NotesX
Harmony analysis
Gece – Derbeder: key and chord analysis
The song opens on D#m and ends on Bb. 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 G#m is heard 8 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# | — |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | 6× |
| 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# | 6× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 8× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| V/iii | Bb | Secondary dominant V/iii — leads to D#msecondary dominant | Bb · D · F | 8× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 8× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| V/v | Bb | Secondary dominant V/v — leads to D#msecondary dominant | Bb · D · F | 8× |
| III | B | Relative major — the bright side | B · D# · F# | — |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | 6× |
| 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# | 6× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 28 times in total; 3 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×6
The move to watch is F# → G#m, heard 6 times. From the G#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the B side it reads V → vi (deceptive cadence: expected B, lands on G#m). 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 Bb, land on Bb, D, F — 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.
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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is D#m; the ear learns where home is within a second. G#m, Bb, D#m, F# carry the song: vi–V/iii–iii–V relative to B, i–V/v–v–VII relative to G#m. Bb adds a moment of surprise: secondary dominant V/iii — leads to D#m. Keep an ear on F# → G#m (V → vi in B, VII → i in G#m): Aeolian arrival — rises a whole tone into home. It closes on Bb, 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.
Gece - Derbeder 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.