Ziynet Sali - Bir Melekten Hediye (Enbe Orkestrası) - Chord

Key B major – G# minor Chords G#m, C#m, E, D#, D#m, F#m, G#, Bb … Easy key G (capo 4)

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Capo 0

G#m                      C#m
Önceden hoyrat sevdalar gezmişim
D#                     G#m   
Bilmeden meğer yalanlar sevmişim
F#m      G#         C#m    E
Gönlümde gün batmadan geldin
Bb          D#             G#m
Hoşgeldin gözleri cennet sevgilim

G#m
Bu sevda bir melekten hediye 
              E     D#m
Aşktan yaralı kalbime
               F#     E
Hayat ağlattı sen güldür 
                  C#m
Herkes hep yaktı sen söndür
E   C#m    D#m
Bir ömür gitme

End of song Play again?

Ziynet Sali - Bir Melekten Hediye (Enbe Orkestrası) Tabs

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Harmony analysis

Ziynet Sali – Bir Melekten Hediye (Enbe Orkestrası): key and chord analysis

The song opens on G#m and ends on D#m. 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 4 times while B never appears 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#	—
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	4×
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#	2×
IV	E	Subdominant — moves away from home	E · G# · B	4×
V	F#	Dominant — strongest pull home	F# · A# · C#	1×
v	F#m	Chromatic colour chordoutside the key	F# · A · C#	1×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	4×
V/ii	G#	Secondary dominant V/ii — leads to C#msecondary dominant	G# · B# · D#	1×
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	1×

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	G#m	Tonic — home	G# · B · D#	4×
V/iv	G#	Secondary dominant V/iv — leads to C#msecondary dominant	G# · B# · D#	1×
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	1×
III	B	Relative major — the bright side	B · D# · F#	—
iv	C#m	Subdominant — moves away from home	C# · E · G#	4×
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#	2×
VI	E	Submediant — warm colour	E · G# · B	4×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	1×
vii	F#m	Chromatic colour chordoutside the key	F# · A · C#	1×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 9 different chords appear 20 times in total; 5 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. G#, Bb act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×2
C#m D# Bii → V/vi G#miv → Viv → V ×1

The move to watch is D# → G#m, heard 2 times. From the G#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the B side it reads V/vi → 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 G#m, land on G#, B, D# — 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.
Over E, land on E, G#, B — 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

4 semitones down · capo 4 keeps the original pitch
1 semitone up

The song's harmonic story

The opening G#m lays a solid floor for everything that follows. G#m, C#m, E, D# carry the song: vi–ii–IV–V/vi relative to B, i–iv–VI–V relative to G#m. 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 D# → G#m (V/vi → vi in B, V → i in G#m): harmonic-minor cadence — the major V resolves dramatically. It closes on D#m, 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.