Batu Akdeniz - Eksik - Chord

Key E major – C# minor Chords A, C#m, B, F#m, A7, G# Easy key G

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Capo 0

A         C#m                 B 
 Geride bırak dedin, her şeyi bir nefeste
A                          C#m
 Hasret sana kavuşmaktan kolay
A            C#m                   B
 Dönüp bir bakınca, bir sevdiysen, bin kez gittin
A                         C#m
 Kaçmak sana inanmaktan kolay
 B                               A
Unutman hatırlamandan çok, çok kolay

     C#m                  A
Hadi durma azad et beni bitir artık bu sessizliği
      F#m      A7              C#m
Çekip al bu bu bitmişliği üstümden
       A
Ne bir eksik ne bir fazla gibi
       C#m
Ne bir galip ne bir mağlup gibi
      A          A7
Gelip al yarım kalan hissini
     G#
Üstümden, üstümden

A  C#m  A  C#m 

A          C#m                    B
 Evim ol dedin bana o ilk gece üşümüş sesinle
A                                  C#m
 Şimdi üşürsen sana evini yakmak kolay
   A
Alışırsın, alışırsın bu durumla barışırsın
    F#m              G#
Demeler uzaklardan kolay

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Batu Akdeniz - Eksik Tabs

NotesX

Harmony analysis

Batu Akdeniz – Eksik: key and chord analysis

The song opens on A and ends on G#. 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)
#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 C#m is heard 11 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.

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#	2×
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#	2×
IV	A	Subdominant — moves away from home	A · C# · E	13×
IV7	A7	Chromatic colour chordoutside the key	A · C# · E · G	2×
V	B	Dominant — strongest pull home	B · D# · F#	4×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	11×
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#	11×
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#	2×
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#	2×
VI	A	Submediant — warm colour	A · C# · E	13×
VI7	A7	Chromatic colour chordoutside the key	A · C# · E · G	2×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	4×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 34 times in total; 4 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. A7 step outside the scale as colour chords.

Chord movement

A C#m EIV → vi C#mVI → iVI → i ×10
A7 C#m EIV7 → vi C#mVI7 → iVI → i ×1
F#m G# Eii → V/vi C#miv → Viv → V ×1

The move to watch is A → C#m, heard 10 times. From the C#m side it is VI → i (VI → i: falls a half step into home); from the E side it reads IV → 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 A, land on A, C#, E — 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 B, land on B, D#, F# — 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

3 semitones up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The opening A lays a solid floor for everything that follows. A, C#m, B, F#m carry the song: IV–vi–V–ii relative to E, VI–i–VII–iv relative to C#m. A7 is the interesting twist: in E it is a chromatic chord (IV7), while in C#m it becomes the dominant (VI7) that makes the minor side sound so determined. 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 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.

Batu Akdeniz - Eksik 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: Batu Akdeniz

Music: Batu Akdeniz

Arrangement: Batu Akdeniz

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