Teoman - Sevdim Seni Bir Kere - Chord

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

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Capo 0

Intro:
C#m     A     B     C#m

C#m                       
Sevdim seni bir kere     
C#m
Başkasını sevemem         
C#m
Deli diyorlar bana      
F#m                       
Desinler değişemem       
A                        
Desinler değişemem
G#             C#m     
Desinler değişemem   

C#m
Daha yolun başındasın
F#m               B
Değişirsin diyorlar
G#
Oysa sana çıkıyor
G#
Bildigim bütün yollar

C#m                       
Sevgi anlaşmak değildir  
G#m                       
Nedensiz de sevilir        
F#m                        
Bazen küçük bir an için   
G#            C#m            
Ömür bile verilir

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Teoman - Sevdim Seni Bir Kere Tabs

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Harmony analysis

Teoman – Sevdim Seni Bir Kere: key and chord analysis

The song opens on C#m and ends on C#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 both starts and finishes on C#m, C#m is heard 9 times while E never appears 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
I	E	Tonic — home	E · G# · B	—
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	3×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	1×
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	4×
IV	A	Subdominant — moves away from home	A · C# · E	2×
V	B	Dominant — strongest pull home	B · D# · F#	2×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	9×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	9×
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#	3×
v	G#m	Minor dominant — soft pull	G# · B · D#	1×
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	4×
VI	A	Submediant — warm colour	A · C# · E	2×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	2×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 21 times in total; 5 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# is V/vi, a secondary dominant heading for C#m.

Chord movement

G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×3
B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×1
A B EIV → VIV → V C#mVI → VIIVI → VII ×1
F#m B Eii → Vii → V C#miv → VII ×1
F#m G# Eii → V/vi C#miv → Viv → V ×1

The move to watch is G# → C#m, heard 3 times. From the C#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the E side it reads V/vi → vi. 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 G#, 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.
When G# comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.

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

The opening C#m lays a solid floor for everything that follows. C#m, G#, F#m, A carry the song: vi–V/vi–ii–IV relative to E, i–V–iv–VI relative to C#m. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G# → C#m (V/vi → vi in E, V → i in C#m): harmonic-minor cadence — the major V resolves dramatically. 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.