Emre Fel - Eda - Chord

Key C major – A minor Chords B, F#m, C#m, A, E, G#7 Easy key Eb

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Capo 0

C#m  B  A  B  C#m  B  A  F#m  B  F#m  B  C#m

C#m  F#m             B
Bahar gözlerin’ deminde
       E             A
Soluyor güllerim elimde
        F#m          G#7
Ne yazık ellerim elinde, gidiyorsun sanırım

C#m    F#m          B
Yanarım ah deli divane
       E                A
Bir eda bu halime bi’ çare
       F#m           G#7
Bu veda tütecek derinde, biliyorsun gelirim

C#m        B        A          B
Bir yandan bir yana savrulur gönül virane
C#m        B           A
Kim candan sevecek delice
    F#m         B
Yanıyor içim vurgun biçare
F#m         B             C#m
Nerde böyle ah seven, nerede

C#m  F#m              B
Sana  söyledim bi’ dinle
      E               A
Gideme gitme dur yerinde
        F#m             G#7
Ne zaman ah ne gün dilersen, yüreğim aralı

C#m     F#m               B
Bu bakış bu ne hoş gülümseme
       E                  A
Geliyor gel de yar gülümseme
      F#m             G#7
Oluyor sanki binbir sene, gideli a canım

C#m        B        A          B
Bir yandan bir yana savrulur gönül virane
C#m        B           A
Kim candan sevecek delice
    F#m         B
Yanıyor içim vurgun biçare
F#m         B             C#m
Nerde böyle ah seven, nerede

End of song Play again?

Emre Fel - Eda Tabs

NotesX

Harmony analysis

Emre Fel – Eda: key and chord analysis

The song opens on C#m and ends on C#m. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
bii	C#m	Chromatic colour chordoutside the key	C# · E · G#	13×
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	4×
IV	F	Subdominant — moves away from home	F · A · C	—
#iv	F#m	Chromatic colour chordoutside the key	F# · A · C#	14×
V	G	Dominant — strongest pull home	G · B · D	—
bVI7	G#7	Borrowed from the parallel minorborrowed chord	G# · B# · D# · F#	4×
vi	Am	Relative minor — the melancholy side	A · C · E	—
VI	A	Chromatic colour chordoutside the key	A · C# · E	10×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
V/iii	B	Secondary dominant V/iii — leads to Emsecondary dominant	B · D# · F#	19×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	—
I	A	Chromatic colour chordoutside the key	A · C# · E	10×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
V/v	B	Secondary dominant V/v — leads to Emsecondary dominant	B · D# · F#	19×
III	C	Relative major — the bright side	C · E · G	—
#iii	C#m	Chromatic colour chordoutside the key	C# · E · G#	13×
iv	Dm	Subdominant — moves away from home	D · F · A	—
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	4×
VI	F	Submediant — warm colour	F · A · C	—
#vi	F#m	Chromatic colour chordoutside the key	F# · A · C#	14×
VII	G	Subtonic — steps back to the tonic	G · B · D	—
#VII7	G#7	Chromatic colour chordoutside the key	G# · B# · D# · F#	4×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 64 times in total; 0 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am. B acts as a secondary dominant, briefly pointing at another chord of the key. G#7 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G#7 C#m CbVI7 → biisecondary resolution Am#VII7 → #iii ×4

The move to watch is G#7 → C#m, heard 4 times. From the Am side it is #VII7 → #iii; from the C side it reads bVI7 → bii (secondary resolution: G#7 resolves a fourth up to C#m). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over B, land on B, D#, F# — 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.
When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
On G#7, follow the chord's notes (G# · B# · D# · F#) 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

3 semitones up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

Starting on C#m, the song gives away its key from the very first bar. The chords that keep coming back are B, F#m, C#m, A; read them as V/iii–#iv–bii–VI in C or V/v–#vi–#iii–I in Am. B is the interesting twist: in C it is a chromatic chord (V/iii), while in Am it becomes the dominant (V/v) that makes the minor side sound so determined. Keep an ear on G#7 → C#m (bVI7 → bii in C, #VII7 → #iii in Am): secondary resolution — G#7 resolves a fourth up to C#m. Ending on C#m, the song seals C 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.