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)
Nil Karaibrahimgil - Ben Buraya Çıplak Geldim - Chord
Key E major – C# minor Chords C#m, D, A, B Easy key G
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Key: E | Dbm | C#m
Capo: 0
A
Bazı sabahlar uyandım, kayıp haldeyim
B
Sanırsın gölgeyim, ayaktayken yerdeyim
D C#m
Ne bileyim, ne bileyim
A
Herkes işinde, binbir dilek peşinde
B
Ben mi tövbeliyim, tövbe tövbeliyim
D C#m
Ne bileyim, ne bileyim
C#m
Nefes aldım, nefes verdim
D A
Burdayım, pes etmem yok
C#m
Ben buraya çıplak geldim
D B C#m
Heyhat! utanmam yok, utanmam yok
A
Bazen ne yapsam 1-1 berabereyim
B
Sorsalar ben neyim, ne mağlup ne galibim
D C#m
Ne bileyim, ne bileyim
A
Hep aynı soru hem zor hem de doğru
B
Geçerken günlerim nerde cesaretim
D C#m
Ne bileyim, ne bileyim
C#m
Nefes aldım, nefes verdim
D A
Burdayım, pes etmem yok
C#m
Ben buraya çıplak geldim
D B C#m
Heyhat! utanmam yok, utanmam yok
Yok, yok, yok pes etmem yok
Yok utanmam yok
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Nil Karaibrahimgil - Ben Buraya Çıplak Geldim Tabs
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Harmony analysis
Nil Karaibrahimgil – Ben Buraya Çıplak Geldim: key and chord analysis
The song opens on A and ends on C#m. 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: to us the song feels closer to the C# minor side because it comes to rest on C#m and C#m is heard 10 times while E never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | E | Tonic — home | E · G# · B | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| 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 | 6× |
| V | B | Dominant — strongest pull home | B · D# · F# | 6× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 10× |
| bVII | D | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | D · F# · A | 8× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 10× |
| bII | D | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | D · F# · A | 8× |
| 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# | — |
| 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 | 6× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 6× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 30 times in total; 3 of them sit naturally inside the shared scale. D is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- A B EIV → VIV → V C#mVI → VIIVI → VII ×4
- B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×2
- A C#m EIV → vi C#mVI → iVI → i ×2
The move to watch is A → B, heard 4 times. From the C#m side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the E side it reads IV → V (IV → V: the lift that builds tension before home). 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#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
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 C#m, D, A, B; read them as vi–bVII–IV–V in E or i–bII–VI–VII in C#m. D briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on A → B (IV → V in E, VI → VII in C#m): VI → VII — the rising step that heads for the tonic. The final chord is C#m; the ear comes to rest in C#m.
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.
Nil Karaibrahimgil - Ben Buraya Çıplak Geldim 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: Nil KaraibrahimgilMusic: Nil Karaibrahimgil
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