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)
Erkan Erzurumlu - Kalbin Nereli - Chord
Key E major – C# minor Chords G#m7, F#m7, Amaj7, C#m7, B7, G#7 Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
Amaj7 G#m7 F#m7 G#m7
C#m7
Bana olmuyor sabahlar
Dar geliyor koskoca yataklar
Amaj7 G#m7
Yüzünü o kumsalda gördüm göreli
C#m7
Alsın beni benden tamam
Kendime bir daha uğramam
F#m7 G#m7
Kayboldum zaten gülüşünü seyredeli
F#m7 B7
Yazıver geleyim
G#m7
Bana yol yok ki senden başka
F#m7 G#7
Adres ver kalbin nereli
Amaj7 G#m7
Parlak teni aydan
F#m7 G#m7
Nasıl tatlı dili baldan
Amaj7 G#m7
Verecek tek bi canı kalsa
F#m7 G#m7
Verir insan kendi elleriyle
Amaj7 G#m7 F#m7 G#m7
End of song Play again?
Erkan Erzurumlu - Kalbin Nereli Tabs
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Harmony analysis
Erkan Erzurumlu – Kalbin Nereli: key and chord analysis
The song opens on Amaj7 and ends on G#m7. 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 C#m is heard 2 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 | — |
| ii7 | F#m7 | Supertonic — prepares the dominant | F# · A · C# · E | 7× |
| iii7 | G#m7 | Mediant — a tonic-family shade | G# · B · D# · F# | 11× |
| V7/vi | G#7 | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# · F# | 1× |
| IVmaj7 | Amaj7 | Subdominant — moves away from home | A · C# · E · G# | 5× |
| V7 | B7 | Dominant — strongest pull home | B · D# · F# · A | 1× |
| vi7 | C#m7 | Relative minor — the melancholy side | C# · E · G# · B | 2× |
| 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 | 2× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | — |
| iv7 | F#m7 | Subdominant — moves away from home | F# · A · C# · E | 7× |
| v7 | G#m7 | Minor dominant — soft pull | G# · B · D# · F# | 11× |
| V7 | G#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# · F# | 1× |
| VImaj7 | Amaj7 | Submediant — warm colour | A · C# · E · G# | 5× |
| VII7 | B7 | Subtonic — steps back to the tonic | B · D# · F# · A | 1× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 27 times in total; 5 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#7 is V7/vi, a secondary dominant heading for C#m.
Chord movement
- G#m7 C#m7 Eiii7 → vi7 C#mv7 → i7natural-minor cadence ×2
- F#m7 B7 Eii7 → V7ii → V C#miv7 → VII7 ×1
- F#m7 G#7 Eii7 → V7/vi C#miv7 → V7iv → V ×1
The move to watch is G#m7 → C#m7, heard 2 times. From the C#m side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the E side it reads iii7 → vi7. 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 G#m7, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- When G#7 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
- 3 semitones up
The song's harmonic story
Starting on Amaj7, the song gives away its key from the very first bar. The chords that keep coming back are G#m7, F#m7, Amaj7, C#m7; read them as iii7–ii7–IVmaj7–vi7 in E or v7–iv7–VImaj7–i7 in C#m. G#7 is the interesting twist: in E it is a chromatic chord (V7/vi), while in C#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on G#m7 → C#m7 (iii7 → vi7 in E, v7 → i7 in C#m): natural-minor cadence — gentle, modal arrival. Ending on G#m7, 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.
Erkan Erzurumlu - Kalbin Nereli 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: Tuğçe ÖrenMusic: Erkan ErzurumluArrangement: Erkan Erzurumlu
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