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)
Mustafa Ceceli - Es - Chord
Key B major – G# minor Chords G#m, E, C#m, F#, D#m Easy key G (capo 4)
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Key: B | Abm | G#m
Capo: 0
G#m
Anladım bu son durak
Beni anılarla yalnız bırak
D#m E
Tutmam gereken bir matemim var
C#m E F#
Hislerim var unutmam gereken
G#m
Yanar yanar durur
C#m E
Kalbim kan ağlar ağlar durur
D#m E
Senin bende kalan günahın var
C#m E F# G#m
Sözlerin var unutup gittiğin
G#m E
Es nereye istersen, nerde çok sevdiysen
C#m E
Uğra bir geçersen maziyi savura savura es
G#m F#
Deli rüzgarlarla kalbimi bir arada tutamam
C#m F# G#m
Yaşayamam, son nefesim ol içime es
G#m E
Ne zaman istersen aynı yerdeyim ben
C#m E
Ezkaza sevmişsen, kalbimi kavura kavura es!
G#m F#
Deli rüzgarlarla yüreği bir arada tutamam
C#m F# G#m
Yaşayamam, son nefesim ol içime es
End of song Play again?
Mustafa Ceceli - Es Tabs
NotesX
Harmony analysis
Mustafa Ceceli – Es: key and chord analysis
The song opens on G#m and ends on G#m. 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 it both starts and finishes on G#m and G#m is heard 9 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# | 7× |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | 2× |
| 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 | 9× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 6× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 9× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 9× |
| 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# | 7× |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | 2× |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VI | E | Submediant — warm colour | E · G# · B | 9× |
| 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). 5 different chords appear 33 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
- F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×4
- E F# BIV → VIV → V G#mVI → VIIVI → VII ×2
- E G#m BIV → vi G#mVI → iVI → i ×2
- C#m F# Bii → Vii → V G#miv → VII ×2
The move to watch is F# → G#m, heard 4 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over C#m, 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
- 4 semitones down · capo 4 keeps the original pitch
- 1 semitone up
The song's harmonic story
Starting on G#m, the song gives away its key from the very first bar. G#m, E, C#m, F# carry the song: vi–IV–ii–V relative to B, i–VI–iv–VII relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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 G#m, letting the G#m 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.
Mustafa Ceceli - Es 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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