Yaşlı Amca - Yakamoz Güzeli - Chord

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

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Capo 0

C#  G#m  B  B  F#  F#  G#m

C#   G#m      B
Öyle bir cefa biriktirdim
F#                G#m
Hiç bir kadeh bulamadı cevap
C#     G#m     B
Içimden geçeni istedim ama
F#                  G#m
Hiç bir kadın yetemedi bana

C#  B    G#m
Sen dışında

C#      G#m
Kime tutulmuş yanarsın, ben oluyorum heba, veba
C#     G#m
Bekleye bekleye paslanır bu sevda

C#  B    G#m
Sen dışında

G#m    F#            G#m
Sıcak bir aralık gecesi
     F#            G#m
Islatır yanmış tenimi
      F#            G#m
Yaklaşır o güzel bedeni
     F#             G#m
Kendisi yakamoz güzeli
     F#              G#m
Yakamoz, yakamoz güzeli
     F#              G#m
Yakamoz, yakamoz güzeli
      F#          G#m
Bence o endam güzeli
    F#          G#m
Yaaaaakamoz güzeli

G#m  F#  G#m  F#  G#m  F#  G#m  F#
C#  B  G#m  F#  G#m  F#  G#m  F#  G#m  F#   

C#  B   G#m
        Her defasında tahrik eder beni
		        C#      G#m
O teni, bedeni, sevmeye sevmeye unutmuş, iltifat etmeyi

C#  B    G#m
Ben dışında

G#m    F#            G#m
Sıcak bir aralık gecesi
     F#            G#m
Islatır yanmış tenimi
      F#            G#m
Yaklaşır o güzel bedeni
                    G#m
Kendisi yakamoz güzeli
     F#              G#m
Yakamoz, yakamoz güzeli
     F#              G#m
Yakamoz, yakamoz güzeli
      F#          G#m
Bence o endam güzeli
    F#          G#m
Yaaaaakamoz güzeli

End of song Play again?

Yaşlı Amca - Yakamoz Güzeli Tabs

NotesX

Harmony analysis

Yaşlı Amca – Yakamoz Güzeli: key and chord analysis

The song opens on C# and ends on G#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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G# minor side because it comes to rest on G#m and G#m is heard 39 times against 9 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.

Seen from B major
Degree	Chord	Role	Notes	In song
I	B	Tonic — home	B · D# · F#	9×
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	—
V/V	C#	Secondary dominant V/V — leads to F#secondary dominant	C# · E# · G#	11×
iii	D#m	Mediant — a tonic-family shade	D# · F# · A#	—
V/vi	D#	Secondary dominant V/vi — leads to G#msecondary dominant	D# · G · A#	—
IV	E	Subdominant — moves away from home	E · G# · B	—
V	F#	Dominant — strongest pull home	F# · A# · C#	27×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	39×
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#	39×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	9×
iv	C#m	Subdominant — moves away from home	C# · E · G#	—
IV	C#	Major IV — Dorian / melodic-minor colourmodal colour	C# · E# · G#	11×
v	D#m	Minor dominant — soft pull	D# · F# · A#	—
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#	27×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 86 times in total; 3 of them sit naturally inside the shared scale. C# acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×24

The move to watch is F# → G#m, heard 24 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 G#m, land on G#, B, D# — 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.
Over C#, land on C#, E#, G# — 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 C# lays a solid floor for everything that follows. G#m, F#, C#, B carry the song: vi–V–V/V–I relative to B, i–VII–IV–III relative to G#m. C# adds a moment of surprise: secondary dominant V/V — leads to F#. Keep an ear on F# → G#m (V → vi in B, VII → i in G#m): Aeolian arrival — rises a whole tone into home. Ending on G#m, the song seals G#m 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.