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)
Feyyaz Yiğit - Yine Biz Göt Altına Gittik - Chord
Key E major – C# minor Chords E, C#m7, B Easy key G
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Key: E | Dbm | C#m
Capo: 0
E C#m7 B E
E C#m7
Bir zaman uykumu kaçıran şeyler
B E
Yavaş yavaş çay bardağına dönüşür
C#m7
Bir zaman çok özlediğim şeyler
B E
Yavaş yavaş kül tablasına dönüşür
C#m7
Bir zaman yüzümü güldüren şeyler
B E
Yavaş yavaş daha da çok güldürür
C#m7
Bir zamanlar çok sevdiğim şeyler
B E
Yavaş yavaş ayakkabıya dönüşür
C#m7
Bir zaman vazgeçemediğim şeyler
B E
Yavaş yavaş naylon poşede dönüşür
E C#m7
Yine biz göt altına gittik
B E
Yine ben göt altında
E C#m7 B E
Bekle beni, göt altında
E C#m7
Bir zaman hep düşündüğüm şeyler
B E
Yavaş yavaş gerçekleşir
C#m7
Bir zaman hiç düşünmediğim şeyler
B E
Yavaş yavaş gerçekleşir
C#m7
Bir zaman hiç sevmediğim şeyler
B E
Yavaş yavaş
E C#m7
Yine biz göt altına gittik
B E
Yine ben göt altında
E C#m7 B E
Bekle beni, göt altında
End of song Play again?
Feyyaz Yiğit - Yine Biz Göt Altına Gittik Tabs
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Harmony analysis
Feyyaz Yiğit – Yine Biz Göt Altına Gittik: key and chord analysis
The song opens on E and ends on E. 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: to us the song feels closer to the E major side because it both starts and finishes on E and E is heard 20 times against 13 for C#m. That is an interpretation, not a rule — hearing the same chords from C# minor is just as valid and teaches you something different.
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 | 20× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| 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 | — |
| V | B | Dominant — strongest pull home | B · D# · F# | 13× |
| vi7 | C#m7 | Relative minor — the melancholy side | C# · E · G# · B | 13× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | C#m7 | Tonic — home | C# · E · G# · B | 13× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 20× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| 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 | — |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 13× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 3 different chords appear 46 times in total; 3 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
- B E EV → Iauthentic cadence C#mVII → III ×13
The move to watch is B → E, heard 13 times. From the E side it reads V → I (authentic cadence: the strongest arrival home); from the C#m side it is VII → III. 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over C#m7, land on C#, E, G# — 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.
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 E; the ear learns where home is within a second. The backbone is E, C#m7, B — I–vi7–V from the E side, III–i7–VII from the C#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → E (V → I in E, VII → III in C#m): authentic cadence — the strongest arrival home. It closes on E, letting the E 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.
Feyyaz Yiğit - Yine Biz Göt Altına Gittik 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: Feyyaz YiğitMusic: Feyyaz Yiğit
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