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)
Mustafa Ceceli - Söz Aramam - Chord
Key E major – C# minor Chords G#m7, F#m, A, C#m, B, E, Bbm Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
G#m7
Ey Aşk
F#m G#m7
Döndür hadi onu yolundan,
F#m A
Alma benim yanımdan
C#m F#m G#m7
Etme beni sağımdan solumdan
A E
Elimden kolumdan
G#m7
Ey Aşk
F#m G#m7
Ayrılığın farkı yok ölümden
F#m A
Ne çektiysem dilimden
C#m F#m G#m7
Etme beni canımdan ciğerden
A E
Yurdumdan yerimden
F#m C#m
Arada kaldım yine kederden
F#m G#m7
Kurtulmak zor deli kaderden
A B
Sen yinede sev sakın korkma
Bbm A
Bile bile gidenlere rağmen
G#m7 F#m
Söz, sana söz aramam
G#m7 F#m
Sakın sen üzülme kıyamam
B C#m
Ne kadar sevsem de rengini kalbinin
G#m7 F#m
Kendimi senle boyamam
G#m7 F#m
Söz, sana söz aramam
G#m7 F#m
Ama buralarda duramam
B C#m
Düşerim yollara yeni şehirlere
G#m7 F#m
Bilirim kimselere yaramam
G#m7 F#m G#m7 A B C#m G#m7 F#m
End of song Play again?
Mustafa Ceceli - Söz Aramam Tabs
NotesX
Harmony analysis
Mustafa Ceceli – Söz Aramam: key and chord analysis
The song opens on G#m7 and ends on F#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 C#m is heard 6 times against 2 for E. 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 | 2× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 16× |
| iii7 | G#m7 | Mediant — a tonic-family shade | G# · B · D# · F# | 16× |
| 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 | 7× |
| #iv | Bbm | Chromatic colour chordoutside the key | Bb · Db · F | 1× |
| V | B | Dominant — strongest pull home | B · D# · F# | 4× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 6× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 6× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 2× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 16× |
| v7 | G#m7 | Minor dominant — soft pull | G# · B · D# · F# | 16× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 7× |
| #vi | Bbm | Chromatic colour chordoutside the key | Bb · Db · F | 1× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 4× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 7 different chords appear 52 times in total; 6 of them sit naturally inside the shared scale. Bbm step outside the scale as colour chords.
Chord movement
- B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×3
- A E EIV → Iplagal cadence C#mVI → III ×2
- A C#m EIV → vi C#mVI → iVI → i ×2
- A B EIV → VIV → V C#mVI → VIIVI → VII ×2
- F#m B Eii → Vii → V C#miv → VII ×2
- F#m C#m Eii → vi C#miv → iminor plagal ×1
The move to watch is B → C#m, heard 3 times. From the C#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the E side it reads V → vi (deceptive cadence: expected E, lands on C#m). 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 G#m7, land on G#, B, D# — 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 A, land on A, C#, E — 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
- 4 semitones down · capo 4 keeps the original pitch
- 3 semitones up
The song's harmonic story
Starting on G#m7, the song gives away its key from the very first bar. G#m7, F#m, A, C#m carry the song: iii7–ii–IV–vi relative to E, v7–iv–VI–i relative to C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → C#m (V → vi in E, VII → i in C#m): Aeolian arrival — rises a whole tone into home. It closes on F#m, letting the E 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.
Mustafa Ceceli - Söz Aramam 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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