Teoman - Doktor - Chord

Key B major – G# minor Chords G#m, E, F#, D#, D#m, C#, B, C#m Easy key C

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Capo 0

G#m  D#m  E  F# 
G#m  D#m  E   

G#m        C#        F#       B         E
Öyle büyük ki inan doktor içimdeki boşluğum
                           D#
Ne koyarsam koyayım hiç dolmuyor
G#m    C#       F#       B      E  
Eğer böyle yaşarsam hep aynı acıyı
                          D#
Bu sıcaklar bile beni donduruyor
G#m       C#         F#        B         E
Kör bir dilenci vücudunda sigara yanıklarıyla
                     D#
İlkbahardan bana bahsediyor 


G#m      C#         F#       B          E
Sardunyalar açıyor diyor ama ben görmeyeceğim 
                   D#
Ve sizin gibi sevinmeyeceğim

C#m               G#m
Bekleme salonunda günü geçmiş dergiler
C#m                   D#
Saçım başım dağılmış sanki bana benzerler


G#m      D#m        E       F#
Doktor doktor insanlar hiç bilmiyor
G#m     D#m         E       F#
Doktor doktor insanlar hiç duymuyor
G#m      D#m        E        F#
Doktor doktor insanlar hissetmiyor


G#m     D#m          E              G#m
Doktor doktor kimse beni sevmiyor, doktor
           C#      F#            B         E
Gerginsin rahatla dedi çabucak soyunurken kadın
                             D#
Paramı ver yeter hiç fark etmez adın
G#m        C#    F#             B        E
Soyunmana gerek yok bana bir kaç tatlı söz lazım
                                 D#
Uyuyana kadar kal yeter bitmiş uyku haplarım

End of song Play again?

Teoman - Doktor Tabs

NotesX

Harmony analysis

Teoman – Doktor: key and chord analysis

The song opens on G#m and ends on D#. 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)
#7 = G (harmonic-minor leading tone from the V chord)

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, G#m is heard 13 times against 6 for B and the major V chord points straight at G#m. 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#	6×
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	2×
V/V	C#	Secondary dominant V/V — leads to F#secondary dominant	C# · E# · G#	6×
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#	7×
IV	E	Subdominant — moves away from home	E · G# · B	12×
V	F#	Dominant — strongest pull home	F# · A# · C#	10×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	13×
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	G#m	Tonic — home	G# · B · D#	13×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	6×
iv	C#m	Subdominant — moves away from home	C# · E · G#	2×
IV	C#	Major IV — Dorian / melodic-minor colourmodal colour	C# · E# · G#	6×
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#	7×
VI	E	Submediant — warm colour	E · G# · B	12×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	10×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 8 different chords appear 62 times in total; 6 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same D# is V/vi, a secondary dominant heading for G#m. C# acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

F# B BV → Iauthentic cadence G#mVII → III ×6
D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×5
F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×4
E F# BIV → VIV → V G#mVI → VIIVI → VII ×4
E G#m BIV → vi G#mVI → iVI → i ×2
C#m G#m Bii → vi G#miv → iminor plagal ×1

The move to watch is F# → B, heard 6 times. From the G#m side it is VII → III; from the B side it reads V → I (authentic cadence: the strongest arrival home). 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 F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
When D# comes, swap the scale's F# for G: that single note is the harmonic-minor sound of the chord.

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#m; the ear learns where home is within a second. The backbone is G#m, E, F#, D# — vi–IV–V–V/vi from the B side, i–VI–VII–V from the G#m side. D# is the interesting twist: in B it is a chromatic chord (V/vi), while in G#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F# → B (V → I in B, VII → III in G#m): authentic cadence — the strongest arrival home. The final chord is D#; 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.