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)
Duygu Edis - Sevmediğim Yalan Rıza Sarıtaş - Chord
Key B major – G# minor Chords D#m7, C#m7, Bmaj7, Emaj7, E Easy key C
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Key: B | Abm | G#m
Capo: 0
Emaj7 D#m7 C#m7 Bmaj7
x2
Emaj7 D#m7 C#m7 Bmaj7 Emaj7
Ellerimi bağladın, yok yere mi ağladım
D#m7 C#m7 Bmaj7 Emaj7
Her gece hayalinle, gün yüzü bırakmadın
D#m7 C#m7 Bmaj7 Emaj7
Bendim en çok yanan, gözlerine aldanan
D#m7 C#m7 Bmaj7
Sevmediğim yalaaaaaaan
Emaj7 D#m7
Koymadım yerine kimseyi
C#m7 Bmaj7
Tutamaz ellerim başka elleri bi’ daha
Emaj7 D#m7
Sevsen ah eskisi gibi
C#m7 Bmaj7
Yaşıyorum seni bi’ başıma
Emaj7 D#m7 C#m7 Bmaj7
x2
Emaj7 D#m7 C#m7
Bi’ gün beni anlarsın
Bmaj7 E
Sen de çok ağlarsın
D#m7 C#m7 Bmaj7
Karşıma çıkamazsın, ahhhh...
Emaj7 D#m7
Koymadım yerine kimseyi
C#m7 Bmaj7
Tutamaz ellerim başka elleri bi’ daha
Emaj7 D#m7
Sevsen ah eskisi gibi
C#m7 Bmaj7
Yaşıyorum seni bi’ başıma
End of song Play again?
Duygu Edis - Sevmediğim Yalan Rıza Sarıtaş Tabs
NotesX
Harmony analysis
Duygu Edis – Sevmediğim Yalan Rıza Sarıtaş: key and chord analysis
The song opens on Emaj7 and ends on Bmaj7. 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 B major side because it comes to rest on B and B is heard 12 times while G#m never appears. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| Imaj7 | Bmaj7 | Tonic — home | B · D# · F# · A# | 12× |
| ii7 | C#m7 | Supertonic — prepares the dominant | C# · E · G# · B | 12× |
| iii7 | D#m7 | Mediant — a tonic-family shade | D# · F# · A# · C# | 12× |
| III | D# | Chromatic colour chordoutside the key | D# · G · A# | — |
| IVmaj7 | Emaj7 | Subdominant — moves away from home | E · G# · B · D# | 11× |
| IV | E | Subdominant — moves away from home | E · G# · B | 1× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | — |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | — |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| IIImaj7 | Bmaj7 | Relative major — the bright side | B · D# · F# · A# | 12× |
| iv7 | C#m7 | Subdominant — moves away from home | C# · E · G# · B | 12× |
| v7 | D#m7 | Minor dominant — soft pull | D# · F# · A# · C# | 12× |
| 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# | 11× |
| VI | E | Submediant — warm colour | E · G# · B | 1× |
| 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). 5 different chords appear 48 times in total; 5 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 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.
- Over Bmaj7, land on B, D#, F# — 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
- 3 semitones up
The song's harmonic story
The opening Emaj7 lays a solid floor for everything that follows. The backbone is D#m7, C#m7, Bmaj7, Emaj7 — iii7–ii7–Imaj7–IVmaj7 from the B side, v7–iv7–IIImaj7–VImaj7 from the G#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Bmaj7; 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.
Duygu Edis - Sevmediğim Yalan Rıza Sarıtaş 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: Rıza Sarıtaş, Tarık TırılMusic: Rıza Sarıtaş, Tarık TırılArrangement: Rıza Sarıtaş, Kerem Çakıroğlu
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