Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Musa Eroğlu - Yine Karlar Yağdı Gönül Dağıma - Chord
Key E major – C# minor Chords F#m, B, E, A, C#m Easy key G
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Key: E | Dbm | C#m
Capo: 0
A F#m E B A C#m C#m B A C#m Yine karlar yağdı gönül dağıma B E F#m Kime ne söyleyim kime ne deyim B E F#m F#m F#m E Yaz ayında gazel düştü bağıma B A C#m Kime ne söyleyim kime ne deyim B A C#m Gürledi bulutlar yağmadı yağmur B E F#m Gözlerim yaşlı da yollarım çamur B E F#m F#m F#m E Yare gidem dedim yetmiyor ömür B A C#m Kime ne söyleyim kime ne deyim F#m E Dosta gidem dedim yetmiyor ömür B A C#m Kime ne söyleyim kime ne deyim B A C#m İpek Mehmet yandı aşkın narına B E F#m Göz göze gelmedik nazlı yarınan B E F#m F#m F#m E Bunca ömrüm geçti ahu zarınan B A C#m Kime ne söyleyim kime ne deyim
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Musa Eroğlu - Yine Karlar Yağdı Gönül Dağıma Tabs
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Harmony analysis
Musa Eroğlu – Yine Karlar Yağdı Gönül Dağıma: key and chord analysis
The song opens on A and ends on C#m. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between E major and C# minor because it comes to rest on C#m and E is heard 11 times against 9 for C#m. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to E or to C#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 | E | Tonic — home | E · G# · B | 11× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 14× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | — |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | 9× |
| V | B | Dominant — strongest pull home | B · D# · F# | 14× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 9× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 9× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 11× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 14× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | — |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 9× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 14× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 57 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
- A C#m EIV → vi C#mVI → iVI → i ×8
- B E EV → Iauthentic cadence C#mVII → III ×6
- F#m B Eii → Vii → V C#miv → VII ×3
The move to watch is A → C#m, heard 8 times. From the E side it reads IV → vi; from the C#m side it is VI → i (VI → i: falls a half step into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — 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.
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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening A lays a solid floor for everything that follows. F#m, B, E, A carry the song: ii–V–I–IV relative to E, iv–VII–III–VI relative to C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → C#m (IV → vi in E, VI → i in C#m): VI → i — falls a half step into home. Ending on C#m, the song seals C#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.
Musa Eroğlu - Yine Karlar Yağdı Gönül Dağıma 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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Lyrics: Mehmet İpek
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