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)
Kubilay Karça - Celladına Aşık - Chord
Key E major – C# minor Chords A, G#m, B, F#m Easy key D (capo 2)
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Key: E | Dbm | C#m
Capo: 0
A G#m A G#m
A G#m A
Afiş olmuş, bütün semte deli yüreğim
G#m A
Olan oldu, giden gittiği yerde mutluu
G#m
Ben vuruldum ama
A
Yemin olsun mühim değil
G#m
Zaten bu sevdanın
A
Ona bir faydası yoktu
A G#m A
Celladına aşık bir kadın tanıdım
G#m A
Sarhoş birazcık gözyaşından anladım
A B F#m
Acıma failine tetiği bir daha çeker
G#m A
Kana bulanmış sevdan ayrılıktan da beter
B F#m
Devriyeler dolanır gönlün arka sokaklarında
G#m A
Kanı bozuk bir aşık seni uykundan eder
End of song Play again?
Kubilay Karça - Celladına Aşık Tabs
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Harmony analysis
Kubilay Karça – Celladına Aşık: key and chord analysis
The song opens on A 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)
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 | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 2× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 10× |
| III | G# | Chromatic colour chordoutside the key | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | 13× |
| V | B | Dominant — strongest pull home | B · D# · F# | 2× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | — |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | — |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | — |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 2× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 10× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 13× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 2× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 27 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
- A B EIV → VIV → V C#mVI → VIIVI → VII ×2
The move to watch is A → B, heard 2 times. From the E side it reads IV → V (IV → V: the lift that builds tension before home); from the C#m side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
Starting on A, the song gives away its key from the very first bar. The chords that keep coming back are A, G#m, B, F#m; read them as IV–iii–V–ii in E or VI–v–VII–iv in C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → B (IV → V in E, VI → VII in C#m): IV → V — the lift that builds tension before home. It closes on A, letting the E side have the last word.
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.
Kubilay Karça - Celladına Aşık 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: Kubilay KarçaMusic: Kubilay KarçaArrangement: Abdurrahman Şimşek
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