Sezen Aksu - Tükeneceğiz - Chord

Key E major – C# minor Chords C#m7, G#m7, F#m7, B, C#m, A, G#m, F#m … Easy key C (capo 4)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Kolay versiyon aşağıda

C#m7  G#m7  F#m7  G#m7  C#m7  G#m7  F#m7
C#m7  G#m7  B9sus4  Emaj7  C#m7  G#m7  B9sus4  Emaj7  G#9sus4

C#m7     C#9sus4     C#m7
Ne böyle senle ne de sensiz
B       Bsus2   B9sus4   B
Yazık yaşanmıyor çareeeesiz
G#m7         F#m7
Ne bir arada ne de ayrı
C#m7    B13sus  F#m7     G#m7
Olmak imkansız  hiç sebepsiz

C#m7    C#9sus4     C#m7
Ne hayallerle ümitlerle
B       Bsus2   B9sus4  B
Mutlu olmaktı dileğiiiiimiz
G#m7            F#m7
Suçlu ne sensin ne de benim
C#m7    B13sus  F#m7     G#m7
Şimdi sensizim  sen de bensiz

C#m7     C#9sus4     C#m7
Bir an gelip de küllenince
B9sus4  Bbm7b5  Eb7b9   G#maj7
Yürek   lerimiz dinlenince
F#m7               C#9sus4
Başka sevgilerde teselli bulunca
Amaj7     B13sus  F#m7      G#m7
İşte biz o gün     düşüneceğiz

C#m7        F#m7
Etrafımızı sarıverecek
B9sus4             G#m7
Bir boşluk ki asla bitmeyecek
Emaj7       A      E9sus4   B7sus2
Her şey bir anda anlamsız gelecek
C#m7     G#m7  F#m7    G#m7
İşte biz o gün tükeneceğiz

Kolay versiyon

C#m
Ne böyle senle ne de sensiz
B             
Yazık yaşanmıyor çaresiz
G#m           A
Ne bir arada ne de ayrı
C#m      A    F#m     G#m
Olmak imkansız hiç sebepsiz

C#m
Ne hayallerle ümitlerle
B             
Mutlu olmaktı dileğimiz
G#m                 A
Suçlu ne sensin ne de benim
C#m       A    F#m     G#m
Şimdi sensizim sen de bensiz

C#m
Bir an gelip de küllenince
B      C#m    D#     G#
Yüreklerimiz dinlenince
F#m               B
Başka sevgilerde teselli bulunca
A        B     F#m      G#m
İşte biz o gün düşüneceğiz

C#m           F#m
Etrafımızı sarıverecek
F#m                   G#m
Bir boşluk ki asla bitmeyecek
E                 A         D
Her şey bir anda anlamsız gelecek
C#m     B       F#m    G#m
İşte biz o gün tükeneceğiz

End of song Play again?

Sezen Aksu - Tükeneceğiz Tabs

NotesX

Harmony analysis

Sezen Aksu – Tükeneceğiz: key and chord analysis

The song opens on C#m7 and ends on G#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)
#7 = B# (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 C# minor side because it opens on C#m, C#m is heard 22 times against 5 for E and the major V chord points straight at C#m. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 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
Imaj7	Emaj7	Tonic — home	E · G# · B · D#	3×
I	E	Tonic — home	E · G# · B	1×
V7/IV	E9sus4	Secondary dominant V/IV — leads to Asecondary dominant	E · A · B · D · F#	1×
ii7	F#m7	Supertonic — prepares the dominant	F# · A · C# · E	10×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	7×
iii7	G#m7	Mediant — a tonic-family shade	G# · B · D# · F#	13×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	7×
V7/vi	G#9sus4	Secondary dominant V/vi — leads to C#msecondary dominant	G# · C# · D# · F# · A#	1×
V/vi	G#maj7	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D# · G	1×
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	1×
IV	A	Subdominant — moves away from home	A · C# · E	7×
IVmaj7	Amaj7	Subdominant — moves away from home	A · C# · E · G#	1×
viiø7/V	Bbm7b5	Secondary leading-tone chord viiø7/V — leads to Bsecondary dominant	Bb · Db · Fb · Ab	1×
V	B	Dominant — strongest pull home	B · D# · F#	10×
V7sus4	B9sus4	Dominant — strongest pull home	B · E · F# · A · C#	6×
V7sus4	B13sus	Dominant — strongest pull home	B · E · F# · A · G#	3×
Vsus2	Bsus2	Dominant — strongest pull home	B · C# · F#	2×
V7sus2	B7sus2	Dominant — strongest pull home	B · C# · F# · A	1×
vi7	C#m7	Relative minor — the melancholy side	C# · E · G# · B	14×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	8×
V7/ii	C#9sus4	Secondary dominant V/ii — leads to F#msecondary dominant	C# · F# · G# · B · D#	4×
bVII	D	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	D · F# · A	1×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—
V7/iii	Eb7b9	Secondary dominant V/iii — leads to G#msecondary dominant	Eb · G · Bb · Db · Fb	1×
V/iii	D#	Secondary dominant V/iii — leads to G#msecondary dominant	D# · G · A#	1×

Seen from C# minor
Degree	Chord	Role	Notes	In song
i7	C#m7	Tonic — home	C# · E · G# · B	14×
i	C#m	Tonic — home	C# · E · G#	8×
V7/iv	C#9sus4	Secondary dominant V/iv — leads to F#msecondary dominant	C# · F# · G# · B · D#	4×
bII	D	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	D · F# · A	1×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
V7/v	Eb7b9	Secondary dominant V/v — leads to G#msecondary dominant	Eb · G · Bb · Db · Fb	1×
V/v	D#	Secondary dominant V/v — leads to G#msecondary dominant	D# · G · A#	1×
IIImaj7	Emaj7	Relative major — the bright side	E · G# · B · D#	3×
III	E	Relative major — the bright side	E · G# · B	1×
V7/VI	E9sus4	Secondary dominant V/VI — leads to Asecondary dominant	E · A · B · D · F#	1×
iv7	F#m7	Subdominant — moves away from home	F# · A · C# · E	10×
iv	F#m	Subdominant — moves away from home	F# · A · C#	7×
v7	G#m7	Minor dominant — soft pull	G# · B · D# · F#	13×
v	G#m	Minor dominant — soft pull	G# · B · D#	7×
V7sus4	G#9sus4	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · C# · D# · F# · A#	1×
Vmaj7	G#maj7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D# · G	1×
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	1×
VI	A	Submediant — warm colour	A · C# · E	7×
VImaj7	Amaj7	Submediant — warm colour	A · C# · E · G#	1×
viiø7/VII	Bbm7b5	Secondary leading-tone chord viiø7/VII — leads to Bsecondary dominant	Bb · Db · Fb · Ab	1×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	10×
VII7sus4	B9sus4	Subtonic — steps back to the tonic	B · E · F# · A · C#	6×
VII7sus4	B13sus	Subtonic — steps back to the tonic	B · E · F# · A · G#	3×
VIIsus2	Bsus2	Subtonic — steps back to the tonic	B · C# · F#	2×
VII7sus2	B7sus2	Subtonic — steps back to the tonic	B · C# · F# · A	1×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 24 different chords appear 105 times in total; 15 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G#9sus4 / G#maj7 / G# is V7/vi, a secondary dominant heading for C#m. C#9sus4, Bbm7b5, Eb7b9, E9sus4, D# act as secondary dominants, briefly pointing at another chord of the key. D is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G#m7 C#m7 Eiii7 → vi7 C#mv7 → i7natural-minor cadence ×4
F#m7 C#m7 Eii7 → vi7 C#miv7 → i7minor plagal ×3
G#m C#m Eiii → vi C#mv → inatural-minor cadence ×3
B9sus4 Emaj7 EV7sus4 → Imaj7authentic cadence C#mVII7sus4 → IIImaj7 ×2
A C#m EIV → vi C#mVI → iVI → i ×2
G#9sus4 C#m7 EV7/vi → vi7secondary resolution C#mV7sus4 → i7harmonic-minor cadence ×1

The move to watch is G#m7 → C#m7, heard 4 times. From the C#m side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the E side it reads iii7 → vi7. 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 C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over G#m7, land on G#, B, D# — 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.
When G#9sus4 comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.
On D, follow the chord's notes (D · F# · A) 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 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

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

The song's harmonic story

Starting on C#m7, the song gives away its key from the very first bar. C#m7, G#m7, F#m7, B carry the song: vi7–iii7–ii7–V relative to E, i7–v7–iv7–VII relative to C#m. C#9sus4 is the interesting twist: in E it is a chromatic chord (V7/ii), while in C#m it becomes the dominant (V7/iv) that makes the minor side sound so determined. Keep an ear on G#m7 → C#m7 (iii7 → vi7 in E, v7 → i7 in C#m): natural-minor cadence — gentle, modal arrival. Ending on G#m, the song seals E 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.