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)
Ahmet Karaca - Yağsın Karlar - Chord
Key A major – F# minor Chords C#m, B, E Easy key C
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Key: A | Gbm | F#m
Capo: 0
C#m C#m E B x2 C#m Kaldum sensuz bu sessiz viranede E B Üşüdum yoklugun vurdi her gecede C#m Yoluna yaktum kalbumun ateşini E B Dönmedun geri, ben yalnızum yine C#m Yağsun karlar yollaruni kapatsun E B Benum ahum o yüreğuni yaksun C#m Duman çöksün dağlaruma geceden E B Yansun dünya yıkılursa yıkılsun C#m B Gece çöktü, gözleruma uyku inmez C#m B Yaram derin, içumdeki sızı dinmez C#m B Kader beni senden yana sınamadi E B Alnıma yazdi ayrılık, bağışlamadi C#m Yağsun karlar yollaruni kapatsun E B Benum ahum o yüreğuni yaksun C#m Duman çöksün dağlaruma geceden E B Yansun dünya yıkılursa yıkılsun
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Ahmet Karaca - Yağsın Karlar Tabs
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Harmony analysis
Ahmet Karaca – Yağsın Karlar: key and chord analysis
The song opens on C#m and ends on B. 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)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between A major and F# 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 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 | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| V/V | B | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# | 11× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 11× |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| V | E | Dominant — strongest pull home | E · G# · B | 8× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# | 11× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 11× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | — |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 8× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 3 different chords appear 30 times in total; 2 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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#m, land on C#, E, G# — 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.
- Over E, land on E, G#, B — 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 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
- 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 C#m, B, E; read them as iii–V/V–V in A or v–IV–VII in F#m. B adds a moment of surprise: secondary dominant V/V — leads to E. It closes on B, letting the A 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.
Ahmet Karaca - Yağsın Karlar 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: Ahmet KaracaMusic: Ahmet Karaca
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