Nigar Muharrem - Duydun mu - Chord

Key E major – C# minor Chords Amaj7, C#m7, Bm7, D, Dmaj7, E Easy key G

Add to Repertoire

No ratings yet

or your user informations

Capo 0

C#m7  Amaj7  D  Bm7
C#m7  Amaj7  D  Bm7  Amaj7

E
Günler sensiz keçir
C#m7
Yoxsan bu aralar
Amaj7
Yoxluğun acısı
        E
Qelbimi paralar
D
Gecem kabus olar

Gündüzüm qaralar
C#m7
Yar yarsız yaşamaz
D
Yar könlün yar alar

C#m7
Sen orda tek-tenha
Amaj7
Gözlerinin yaşını kim siler
Dmaj7
Men burda elibağlı
Bm7
Halimi mezlumlar biler

C#m7
Bir gün dağılar bu qefes
Amaj7
Bir ömür senle alaram nefes
Dmaj7
Her kes bizden danışar
Bm7
Sebr eyle bir gün o gün geler

C#m7
Duydunmu men çeken ahları
Amaj7
Zindan açdı sabahları
Dmaj7
Sen hesret çek, men ceza
Bm7
Qoy silsin bu günahları

Bm7                  Amaj7
Qoy silsin bu günahları

End of song Play again?

Nigar Muharrem - Duydun mu Tabs

NotesX

Harmony analysis

Nigar Muharrem – Duydun mu: key and chord analysis

The song opens on C#m7 and ends on Amaj7. 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 7 times against 2 for E. 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	2×
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#	—
IVmaj7	Amaj7	Subdominant — moves away from home	A · C# · E · G#	8×
V	B	Dominant — strongest pull home	B · D# · F#	—
v7	Bm7	Chromatic colour chordoutside the key	B · D · F# · A	6×
vi7	C#m7	Relative minor — the melancholy side	C# · E · G# · B	7×
bVII	D	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	D · F# · A	4×
bVIImaj7	Dmaj7	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	D · F# · A · C#	3×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i7	C#m7	Tonic — home	C# · E · G# · B	7×
bII	D	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	D · F# · A	4×
bIImaj7	Dmaj7	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	D · F# · A · C#	3×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	2×
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#	—
VImaj7	Amaj7	Submediant — warm colour	A · C# · E · G#	8×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	—
vii7	Bm7	Chromatic colour chordoutside the key	B · D · F# · A	6×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 30 times in total; 3 of them sit naturally inside the shared scale. D, Dmaj7 are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Amaj7 E EIVmaj7 → Iplagal cadence C#mVImaj7 → III ×2

The move to watch is Amaj7 → E, heard 2 times. From the C#m side it is VImaj7 → III; from the E side it reads IVmaj7 → I (plagal cadence: the soft 'amen' ending). 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 Amaj7, land on A, C#, E — 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
On D, follow the chord's notes (D · F# · A) 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
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The first chord is C#m7; the ear learns where home is within a second. The chords that keep coming back are Amaj7, C#m7, Bm7, D; read them as IVmaj7–vi7–v7–bVII in E or VImaj7–i7–vii7–bII in C#m. D briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Amaj7 → E (IVmaj7 → I in E, VImaj7 → III in C#m): plagal cadence — the soft 'amen' ending. The final chord is Amaj7; the ear comes to rest in E.

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.