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)
Mor ve Ötesi - Uyku - Chord
Key E major – C# minor Chords A, E, G#, C, B, F#7, D, C#m Easy key A (capo 7)
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Key: E | Dbm | C#m
Capo: 0
E
Saat bir uykum yok
G# A
Gel bir bardak su içelim
E G# A
Bulanıklık suyla aksın gitsin
E
Paniğe lüzum yok
G# A
Her şey kontrol altında
E G# A
Kesici aletler dolaplarda
E F#7 E
Tehlike çok uzakta
E F#7 E
Tehlike çok uzakta
C B C B
E
Saat iki uykum yok
G# A
Ya biz biraz çalışsak
C#m
Bulantı yazıyla
F#7 A
Silinse gitseeee
C B D A
Uyumak istiyorum
C B D A
Rahatsız etmeyin
E G# A E
E G# A
Saat üç uyumak istiyorum
C#m F#7 C#m F#7 A
Bir tuvalete çiçekleri sulamak, ooh
C B D A
Uyumak istiyorum
C B D A
Rahatsız etmeyin
End of song Play again?
Mor ve Ötesi - Uyku Tabs
NotesX
Harmony analysis
Mor ve Ötesi – Uyku: key and chord analysis
The song opens on E and ends on A. 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 E major side because it opens on E, E is heard 12 times against 3 for C#m and the major V chord points straight at 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 | 12× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| V7/V | F#7 | Secondary dominant V/V — leads to Bsecondary dominant | F# · A# · C# · E | 5× |
| 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# | 7× |
| IV | A | Subdominant — moves away from home | A · C# · E | 13× |
| V | B | Dominant — strongest pull home | B · D# · F# | 6× |
| bVI | C | Borrowed from the parallel minorborrowed chord | C · E · G | 6× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 3× |
| bVII | D | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | D · F# · A | 4× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 3× |
| bII | D | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | D · F# · A | 4× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 12× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| IV7 | F#7 | Major IV — Dorian / melodic-minor colourmodal colour | F# · A# · C# · E | 5× |
| 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# | 7× |
| VI | A | Submediant — warm colour | A · C# · E | 13× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 6× |
| #VII | C | Chromatic colour chordoutside the key | C · E · G | 6× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 8 different chords appear 56 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. F#7 acts as a secondary dominant, briefly pointing at another chord of the key. C, D are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- A E EIV → Iplagal cadence C#mVI → III ×6
- A C#m EIV → vi C#mVI → iVI → i ×2
- B E EV → Iauthentic cadence C#mVII → III ×1
The move to watch is A → E, heard 6 times. From the E side it reads IV → I (plagal cadence: the soft 'amen' ending); from the C#m side it is VI → 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 A, land on A, C#, E — 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.
- 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.
- 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
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is E; the ear learns where home is within a second. A, E, G#, C carry the song: IV–I–V/vi–bVI relative to E, VI–III–V–#VII relative to 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 A → E (IV → I in E, VI → III in C#m): plagal cadence — the soft 'amen' ending. Ending on A, 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.
Mor ve Ötesi - Uyku 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: Kerem KabadayıMusic: Harun Tekin
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