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)
Cem Belevi - Sor - Chord
Key B major – G# minor Chords Ebm, Abm, Dbm Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: B | Abm | G#m
Capo: 0
Abm Ebm Dbm Ebm
Abm
Sor, yerleri yaratan
Gökleri yaratan altı günde bilir halimi
Ebm
Ona sor, dertleri yaşatan
Derman aratan kara günde bilir halimi
Dbm Ebm
Ona sor, bana sorma
Abm
Benim halim, vaktim, keyfim yerindeyken
Ebm
Bir zalim sevdim, bittim elindeyken
Dbm
Kor oldum, yandım, oldum huzurumdan
Ebm
Oofff
Abm
Öyle yağma yok
Ya gelir ya gider bir karar verirsin
Ebm
Baştan savma yok
Ya sever ya siler sen aşkı bilirsin
Dbm Ebm
Başka çare yok, başka çare yok
End of song Play again?
Cem Belevi - Sor Tabs
NotesX
Harmony analysis
Cem Belevi – Sor: key and chord analysis
The song opens on Abm and ends on Ebm. 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 opens on G#m and G#m is heard 4 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 | Dbm | Supertonic — prepares the dominant | Db · Fb · Ab | 4× |
| iii | Ebm | Mediant — a tonic-family shade | Eb · Gb · Bb | 8× |
| V/vi | D# | Secondary dominant V/vi — leads to Abmsecondary dominant | D# · G · A# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | — |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| vi | Abm | Relative minor — the melancholy side | Ab · Cb · Eb | 4× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Abm | Tonic — home | Ab · Cb · Eb | 4× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | — |
| iv | Dbm | Subdominant — moves away from home | Db · Fb · Ab | 4× |
| v | Ebm | Minor dominant — soft pull | Eb · Gb · Bb | 8× |
| 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# | — |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 3 different chords appear 16 times in total; 3 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
- Ebm Abm Biii → vi G#mv → inatural-minor cadence ×3
The move to watch is Ebm → Abm, heard 3 times. From the G#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the B side it reads iii → 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- Over Dbm, land on Db, Fb, Ab — 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
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Abm, the song gives away its key from the very first bar. The chords that keep coming back are Ebm, Abm, Dbm; read them as iii–vi–ii in B or v–i–iv in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm → Abm (iii → vi in B, v → i in G#m): natural-minor cadence — gentle, modal arrival. Ending on Ebm, the song seals B as home.
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.
Cem Belevi - Sor 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.