Hemsaye - Tam Kaybetmişken - Chord

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

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Capo 0

C#m
 Gün gelir düşer yollara

 Sana ait ne varsa
F#m
 Biriktirdiği sesini anlatmış kıyılara
A
 Kararan gecelerin ilk parlayan yıldızı
F#m                C#m
 Öyle uzak, öyle güzel

C#m
 Tarifi mümkün olsa da anlatsam her şeyi
F#m
 O küçük kuştum ellerinde nerelerdeyim
A
 Düştüğümde sen bul beni, tek isteğim
F#m              C#m
 Uçmak değil niyetim

C#m      F#m         A
Olmassan günler yine düşman
     F#m        C#m
Yine sonlar birikir
            F#m      A            C
Kaybetmek telaşı hiç bulmadan niyedir

End of song Play again?

Hemsaye - Tam Kaybetmişken Tabs

NotesX

Harmony analysis

Hemsaye – Tam Kaybetmişken: key and chord analysis

The song opens on C#m and ends on C. Its chords belong to both E major and C#m, so every chord below is read both ways.

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)

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: to us the song feels closer to the C# minor side because it opens on C#m and C#m is heard 6 times while E never appears. 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.

Seen from E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	—
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	7×
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	4×
V	B	Dominant — strongest pull home	B · D# · F#	—
bVI	C	Borrowed from the parallel minorborrowed chord	C · E · G	1×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	6×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	6×
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#	7×
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	4×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	—
#VII	C	Chromatic colour chordoutside the key	C · E · G	1×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 18 times in total; 3 of them sit naturally inside the shared scale. C is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F#m C#m Eii → vi C#miv → iminor plagal ×3

The move to watch is F#m → C#m, heard 3 times. From the C#m side it is iv → i (minor plagal: deep and melancholic); from the E side it reads ii → 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.

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
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The first chord is C#m; the ear learns where home is within a second. The backbone is F#m, C#m, A, C — ii–vi–IV–bVI from the E side, iv–i–VI–#VII from the C#m side. C briefly darkens the picture: borrowed from the parallel minor. Keep an ear on F#m → C#m (ii → vi in E, iv → i in C#m): minor plagal — deep and melancholic. Ending on C, 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.