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)
Gökhan Türkmen - Kalem - Chord
Key E major – C# minor Chords Amaj7, F#m, C#m, E Easy key G
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Key: E | Dbm | C#m
Capo: 0
Amaj7
Olmaz bizden
F#m C#m
Yol yakınken git bence durma
E
Sen de ben dururken
Amaj7 F#m
Zorlarda kaldım kaygım sen yüzünden
C#m E
Koymaz bana dönsek başa
Amaj7 F#m
Kalbim yorgun sen gülerken
C#m E
İnandım bir an yeni bir dünya kurarken
Amaj7 F#m
Başlarda sandım kaygın benim yüzümden
C#m E
Döndük başa, kusura bakma
Amaj7
Günlerce susuyorduk
F#m
Sessiz de hissediyorduk
C#m
Ama biz yalanlardan bir kale kurduk
E
Vedaya derinden saygı duyduk
Amaj7
Bir ipte dans ediyorduk
F#m
Hangimiz istemiyorduk
C#m E
Çiçeklerin içinden geçen masallara inanmak bazen
Amaj7 F#m C#m
Üzülme yine, benim yerime
E
Kaybettim ben hem de on kere yüz kere
Amaj7 F#m C#m
Sildim ben gizlice, göz yaşlarım geçmişe
E Amaj7
Senin sebebine boş yere her kalem
End of song Play again?
Gökhan Türkmen - Kalem Tabs
NotesX
Harmony analysis
Gökhan Türkmen – Kalem: key and chord analysis
The song opens on Amaj7 and ends on Amaj7. 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: we can't honestly pick a side here — the song moves freely between E major and C# minor. Try reading the chords both ways and see which feels more like home to you.
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 | 8× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 8× |
| 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# | 9× |
| V | B | Dominant — strongest pull home | B · D# · F# | — |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 8× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 8× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 8× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 8× |
| 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# | 9× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | — |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 33 times in total; 4 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
- F#m C#m Eii → vi C#miv → iminor plagal ×8
The move to watch is F#m → C#m, heard 8 times. From the E side it reads ii → vi; from the C#m side it is iv → i (minor plagal: deep and melancholic). 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 F#m, land on F#, A, C# — 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.
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
Starting on Amaj7, the song gives away its key from the very first bar. The chords that keep coming back are Amaj7, F#m, C#m, E; read them as IVmaj7–ii–vi–I in E or VImaj7–iv–i–III in C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m → C#m (ii → vi in E, iv → i in C#m): minor plagal — deep and melancholic. 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.
Gökhan Türkmen - Kalem 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: Mert CarimMusic: Gökhan Türkmen
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