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)
Barış Manço - Kara Sevda - Chord
Key E major – C# minor Chords C#m, F#m, G#, B Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
C#m Nasıl anlatsam bilemiyorum içim içime sığmıyor F#m G# O deli dolu neşe dolu kişi ben değilim sanki C#m Dışarısı buz gibi lapa lapa kar var benim içim yanıyor F#m G# Eksi kırk derece soğuk suda bile yüzerim inan ki C#m Kara sevda kara sevda B C#m Dedikleri daha ne olabilir ki C#m Kara sevda kara sevda B C#m Seni benden kim ayırabilir ki F#m C#m G# C#m Çocukça bir aşk deyip de geçme sakın gülme halime F#m C#m G# C#m Nasıl olduğunu anlayamadım ama, seviyorum seni delicesine C#m Nasıl anlatsan bilemiyorum gözlerim kararıyor F#m G# Tepe taklak oldu dünya tersine sanki C#m Bütün aşıklar el ele kol kola cıvıl cıvıl geziyor F#m G# Bense nuhun gemisinde tek başına gibiyim inan ki
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Barış Manço - Kara Sevda Tabs
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Harmony analysis
Barış Manço – Kara Sevda: key and chord analysis
The song opens on C#m and ends on G#. 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)
- #7 = B# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C# minor side because it opens on C#m, C#m is heard 12 times while E never appears and the major V chord points straight at C#m. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 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 | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 6× |
| 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# | 6× |
| IV | A | Subdominant — moves away from home | A · C# · E | — |
| V | B | Dominant — strongest pull home | B · D# · F# | 2× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 12× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 12× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | — |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 6× |
| 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# | 6× |
| VI | A | Submediant — warm colour | A · C# · E | — |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 2× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 26 times in total; 3 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G# is V/vi, a secondary dominant heading for C#m.
Chord movement
- G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×5
- F#m G# Eii → V/vi C#miv → Viv → V ×4
- B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×2
- F#m C#m Eii → vi C#miv → iminor plagal ×2
The move to watch is G# → C#m, heard 5 times. From the C#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the E side it reads V/vi → vi. 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 C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over G#, land on G#, B#, D# — the chord's own tones always sound right on strong beats.
- When G# comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.
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
- 4 semitones down · capo 4 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening C#m lays a solid floor for everything that follows. The chords that keep coming back are C#m, F#m, G#, B; read them as vi–ii–V/vi–V in E or i–iv–V–VII in C#m. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G# → C#m (V/vi → vi in E, V → i in C#m): harmonic-minor cadence — the major V resolves dramatically. Ending on G#, the song seals E 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.
Barış Manço - Kara Sevda 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: Barış MançoMusic: Barış Manço
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