Duman - Bir Güzellik Yapsana - Chord

Key E major – C# minor Chords B, E, C#m, F#m, A Easy key G

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Capo 0

E  C#m  E  C#m  E  C#m  E  C#m

F#m        B
Bir anlamı yok
F#m       B           F#m
Düşün dur bir yere varmaz
     B            E
Geceler karışır sabahlara

F#m        B
Bir çaresi yok
F#m        B           F#m
Bir çare düşersin yollara
       B              E      C#m
Gönül önden gider sen arkadaaa
    E
Sen arkada

F#m          B
Yorgun argın gibisin
E       C#m 
Baksana baksana
F#m          B         E    C#m
Neden solmuş gözlerin,  alsana

A            B           E        C#m
Bir güzellik kendine sen yapsana, yapsana
A             B          C#m
Durma kaç git kendinden uzaklara

E  C#m  E  C#m  E  C#m

F#m      B
Tedavisi yok
F#m      B             F#m
Tedavisi yok ilacı olsada
          B         
Kürekleri çekersin akıntıya

F#m         B
Bir faydası yok
F#m         B             F#m
Dimdik dur ister yalvar yakar
       B              E     C#m    E
Başı sonu belli bir nefes kadar, nefes kadar

F#m          B
Yorgun argın gibisin
E       C#m 
Baksana baksana
F#m          B         E    C#m
Neden solmuş gözlerin,  alsana

A            B           E        C#m
Bir güzellik kendine sen yapsana, yapsana
A             B          C#m
Durma kaç git kendinden uzaklara

End of song Play again?

Duman - Bir Güzellik Yapsana Tabs

NotesX

Harmony analysis

Duman – Bir Güzellik Yapsana: key and chord analysis

The song opens on E and ends on C#m. 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: we can't honestly pick a side here — the song moves freely between E major and C# minor because it comes to rest on C#m, it opens on E and E is heard 18 times against 17 for C#m. 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.

Seen from E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	18×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	16×
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#	—
IV	A	Subdominant — moves away from home	A · C# · E	4×
V	B	Dominant — strongest pull home	B · D# · F#	20×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	17×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	17×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	18×
iv	F#m	Subdominant — moves away from home	F# · A · C#	16×
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#	—
VI	A	Submediant — warm colour	A · C# · E	4×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	20×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 75 times in total; 5 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 B Eii → Vii → V C#miv → VII ×16
B E EV → Iauthentic cadence C#mVII → III ×9
A B EIV → VIV → V C#mVI → VIIVI → VII ×4
B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×2

The move to watch is F#m → B, heard 16 times. From the E side it reads ii → V (ii → V: the classic preparation of the dominant); from the C#m side it is iv → VII. 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — 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

The first chord is E; the ear learns where home is within a second. The backbone is B, E, C#m, F#m — V–I–vi–ii from the E side, VII–III–i–iv from the C#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m → B (ii → V in E, iv → VII in C#m): ii → V — the classic preparation of the dominant. It closes on C#m, letting the C#m 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.