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)
Haramiler - Mavi Duvar - Chord
Key B major – G# minor Chords Abm, Gb, Dbm, Ebm, B Easy key C
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Key: B | Abm | G#m
Capo: 0
Abm Dbm Ebm Abm Duvarları maviye boyadım, maviyi çok seversin Abm Dbm Gb Abm Penceremde menekşeler dizili, sularken şarkı söylersin Abm Dbm Ebm Gb Abm Gramofonda eski alaturka, hoşuna gider bilirim Gb Abm Gb Abm O yaz evinin içinde, denize nazır Gb Abm Gb Abm Sabaha kadar, bekledim seni Gb B Dbm Ebm Gb Abm Birden dalgalar dedi ki, gelmeyeceksin Dbm Ebm Gb Abm Dalgalar dedi ki gelmeyeceksin Abm Gb Abm Dbm Gb Abm Birden çıktım viraneden koşa koşa indim kumsala Dbm Gb Abm Dbm Gb Abm Acı acı sövdüm sonra, yüzümü kırbaçlayan rüzgara
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Haramiler - Mavi Duvar Tabs
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Harmony analysis
Haramiler – Mavi Duvar: key and chord analysis
The song opens on Abm and ends on Abm. 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 17 times against 1 for B. 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# | 1× |
| ii | Dbm | Supertonic — prepares the dominant | Db · Fb · Ab | 8× |
| iii | Ebm | Mediant — a tonic-family shade | Eb · Gb · Bb | 4× |
| 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 | Gb | Dominant — strongest pull home | Gb · Bb · Db | 13× |
| vi | Abm | Relative minor — the melancholy side | Ab · Cb · Eb | 17× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Abm | Tonic — home | Ab · Cb · Eb | 17× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | 1× |
| iv | Dbm | Subdominant — moves away from home | Db · Fb · Ab | 8× |
| v | Ebm | Minor dominant — soft pull | Eb · Gb · Bb | 4× |
| 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 | Gb | Subtonic — steps back to the tonic | Gb · Bb · Db | 13× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 5 different chords appear 43 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
- Gb Abm BV → videceptive cadence G#mVII → iAeolian arrival ×12
- Dbm Gb Bii → Vii → V G#miv → VII ×4
- Gb B BV → Iauthentic cadence G#mVII → III ×1
- Ebm Abm Biii → vi G#mv → inatural-minor cadence ×1
The move to watch is Gb → Abm, heard 12 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 Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — 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
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The opening Abm lays a solid floor for everything that follows. The chords that keep coming back are Abm, Gb, Dbm, Ebm; read them as vi–V–ii–iii in B or i–VII–iv–v in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Abm (V → vi in B, VII → i in G#m): Aeolian arrival — rises a whole tone into home. It closes on Abm, 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.
Haramiler - Mavi Duvar 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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