Gökhan Türkmen - İhtimaller Perisi - Chord

Key B major – G# minor Chords Ebm7, Dbm7, Emaj7, Bmaj7, Gb, Abm Easy key C

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Capo 0

Bmaj7   Ebm7       Dbm7
Her uzaklık çok zor
    Gb   Emaj7  Ebm7  Dbm7  Bmaj7
İçimde kötü ihtimaller periisi
    Ebm7     Dbm7  Gb
Pul pul dökülmüş canım
  Emaj7  Ebm7    Dbm7     Bmaj7
Yanar  yanar da ısıtmaz beni

Dbm7         Ebm7  Emaj7  Gb  Abm
Durmaz yağar üzeriiime      kötü anılarım
          Gb        Emaj7  Bmaj7     Dbm7
Susar bak kanar gülüşüne, içim içim, hayırsızım

Abm          Ebm7          Dbm7       Ebm7
Kapatın şehrin ışıklarını, günahı düşümde kalsın
Dbm7        Ebm7    Emaj7  Ebm7
Göz görmez olsun, gönül katlansın
Abm         Ebm7        Dbm7   Ebm7
Bırakın alsın ne varsa, hayali benimle kalsın
Dbm7         Ebm7    Emaj7  Ebm7
Söz geçmez olsun, gönlüm katlansın

Abm  Ebm7  Dbm7  Ebm7  Dbm7  Ebm7  Emaj7  Ebm7

Dbm7  Ebm7   Emaj7                   Gb
Görmüüyor  musun çaresizliğimi, bu kadar mı
Emaj7  Ebm7  Dbm7              Bmaj7
Duymuuuyor musun sesimi, gönül lal mi

End of song Play again?

Gökhan Türkmen - İhtimaller Perisi Tabs

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Harmony analysis

Gökhan Türkmen – İhtimaller Perisi: key and chord analysis

The song opens on Bmaj7 and ends on Bmaj7. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the B major side because it both starts and finishes on B and B is heard 5 times against 4 for G#m. 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.

Seen from B major
Degree	Chord	Role	Notes	In song
Imaj7	Bmaj7	Tonic — home	B · D# · F# · A#	5×
ii7	Dbm7	Supertonic — prepares the dominant	Db · Fb · Ab · Cb	14×
iii7	Ebm7	Mediant — a tonic-family shade	Eb · Gb · Bb · Db	19×
V/vi	D#	Secondary dominant V/vi — leads to Abmsecondary dominant	D# · G · A#	—
IVmaj7	Emaj7	Subdominant — moves away from home	E · G# · B · D#	9×
V	Gb	Dominant — strongest pull home	Gb · Bb · Db	5×
vi	Abm	Relative minor — the melancholy side	Ab · Cb · Eb	4×
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	Abm	Tonic — home	Ab · Cb · Eb	4×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
IIImaj7	Bmaj7	Relative major — the bright side	B · D# · F# · A#	5×
iv7	Dbm7	Subdominant — moves away from home	Db · Fb · Ab · Cb	14×
v7	Ebm7	Minor dominant — soft pull	Eb · Gb · Bb · Db	19×
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#	9×
VII	Gb	Subtonic — steps back to the tonic	Gb · Bb · Db	5×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 6 different chords appear 56 times in total; 6 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

Dbm7 Gb Bii7 → Vii → V G#miv7 → VII ×2
Emaj7 Gb BIVmaj7 → VIV → V G#mVImaj7 → VIIVI → VII ×2
Ebm7 Abm Biii7 → vi G#mv7 → inatural-minor cadence ×2
Gb Abm BV → videceptive cadence G#mVII → iAeolian arrival ×1
Emaj7 Bmaj7 BIVmaj7 → Imaj7plagal cadence G#mVImaj7 → IIImaj7 ×1
Dbm7 Abm Bii7 → vi G#miv7 → iminor plagal ×1

The move to watch is Dbm7 → Gb, heard 2 times. From the B side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the G#m side it is iv7 → VII. 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 Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Dbm7, land on Db, Fb, Ab — the chord's own tones always sound right on strong beats.
Over Emaj7, land on E, G#, B — 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
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

Starting on Bmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Ebm7, Dbm7, Emaj7, Bmaj7; read them as iii7–ii7–IVmaj7–Imaj7 in B or v7–iv7–VImaj7–IIImaj7 in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dbm7 → Gb (ii7 → V in B, iv7 → VII in G#m): ii → V — the classic preparation of the dominant. 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.