Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Melike Şahin - Kara Gözlüm - Chord
Key A major – F# minor Chords C#m7, F#m7, Bm7, Dmaj7, E7, E, C#7, F#m Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m7 C#m7 F#m7 C#m7 F#m7 C#m7 Dmaj7 C#m7 E7
F#m7 C#m7 F#m7 C#m7 Dmaj7 C#m7 Bm7 C#m7 E7 F#m7
F#m7 Bm7
Yar gidiyor soğuk gecede
E Dmaj7 F#m7
Yüreği ihanette yüreğime
Bm7
Ah duvarlar benim sırdaşım
E Dmaj7 F#m7
Aman vermiyor hasret bedenime
F#m7 C#m7 F#m7 C#m7
Dur dinlee, kara gözlüm gitmee
F#m7 C#m7
Yapma bana küsmee
Dmaj7 C#m7 Bm7 C#7 E7
Özlüyorum deli gibi muhtacım sevgine
F#m7 C#m7 F#m7 C#m7
Dur dinlee, kara gözlüm gitmee
F#m7 C#m7
Yapma bana küsmee
Dmaj7 C#m7 Bm7 C#7
Özlüyorum deli gibi muhtacım sevgine
F#m7 C#m7 F#m7 C#m7 F#m7 C#m7 Bm7 C#m7 E7
F#m7 C#m7 F#m7 C#m7 F#m7 C#m7 Bm7 C#m7 E7 F#m
F#m7 Bm7
Son bulsun ah derin ayrılık
E Dmaj7 F#m7
Tükensin acılarım geldiğinde
Bm7
Ah sokaklar benim yoldaşım
E Dmaj7 F#m7
Kahrolsun o mutsuzluk dön gönlüme
F#m7 C#m7 F#m7 C#m7
Dur dinlee, kara gözlüm gitmee
F#m7 C#m7
Yapma bana küsmee
Dmaj7 C#m7 Bm7 C#7 C#m7
Özlüyorum deli gibi muhtacım sevgine
End of song Play again?
Melike Şahin - Kara Gözlüm Tabs
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Harmony analysis
Melike Şahin – Kara Gözlüm: key and chord analysis
The song opens on F#m7 and ends on C#m7. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
- #7 = E# (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 F# minor side because it opens on F#m, F#m is heard 28 times while A never appears and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#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 | A | Tonic — home | A · C# · E | — |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 10× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 29× |
| V7/vi | C#7 | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# · B | 3× |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 9× |
| V7 | E7 | Dominant — strongest pull home | E · G# · B · D | 5× |
| V | E | Dominant — strongest pull home | E · G# · B | 4× |
| vi7 | F#m7 | Relative minor — the melancholy side | F# · A · C# · E | 27× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 1× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | F#m7 | Tonic — home | F# · A · C# · E | 27× |
| i | F#m | Tonic — home | F# · A · C# | 1× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 10× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 29× |
| V7 | C#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# · B | 3× |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 9× |
| VII7 | E7 | Subtonic — steps back to the tonic | E · G# · B · D | 5× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 4× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 8 different chords appear 88 times in total; 7 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C#7 is V7/vi, a secondary dominant heading for F#m.
Chord movement
- C#m7 F#m7 Aiii7 → vi7 F#mv7 → i7natural-minor cadence ×13
- E7 F#m7 AV7 → vi7deceptive cadence F#mVII7 → i7Aeolian arrival ×4
- Bm7 E Aii7 → Vii → V F#miv7 → VII ×4
- Dmaj7 F#m7 AIVmaj7 → vi7 F#mVImaj7 → i7VI → i ×4
- Bm7 C#7 Aii7 → V7/vi F#miv7 → V7iv → V ×3
- C#7 F#m7 AV7/vi → vi7secondary resolution F#mV7 → i7harmonic-minor cadence ×1
The move to watch is C#m7 → F#m7, heard 13 times. From the F#m side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the A side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over C#m7, land on C#, E, G# — 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- When C#7 comes, swap the scale's E for E#: 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on F#m7, the song gives away its key from the very first bar. C#m7, F#m7, Bm7, Dmaj7 carry the song: iii7–vi7–ii7–IVmaj7 relative to A, v7–i7–iv7–VImaj7 relative to F#m. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C#m7 → F#m7 (iii7 → vi7 in A, v7 → i7 in F#m): natural-minor cadence — gentle, modal arrival. Ending on C#m7, the song seals A 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.
Melike Şahin - Kara Gözlüm 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: Evren Elif ErdamarMusic: Yusuf Dündar Bütünley
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