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)
Bülent Ortaçgil - Aşk Var - Chord
Key E major – C# minor Chords C#m, G#m, F#m, A, B, F#m7 Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
C#m G#m C#m G#m
F#m C#m F#m G#m C#m
C#m
Herkes en doğruyu bilir
G#m
Herkes uzman, herkes rekortmen
C#m
Öyle eminiz ki yolumuzdan
G#m
İster haydut ister centilmen
F#m
Ama aşk var
C#m
Bir tek aşk var
F#m
Aşk var mı?
A
Var...
C#m
Aşk var...
C#m
Herkes bir inancın peşinde
G#m
Herkes militan, herkes fedai
C#m
Öyle değiştirdik ki dünyayı
G#m
Uyanık akıllı, dürüst enayi
F#m
Ama aşk var
C#m
Bir tek aşk var
F#m
Aşk var mı?
A
Var...
C#m
Aşk var...
A B G#m F#m7
Kaf Dağının ardına kaçsa bile aşk var
A B G#m A
Yatak çarşaflarına sıkışsa bile aşk var
F#m B
Yalnız bir titreşim olsa
G#m C#m
Ya da bir kıpırtı kalsa bile aşk var
C#m
Paranın esiri olduk
G#m
Ne kadar iktisat, o kadar mutluluk
C#m
Birer birer yeniliyorduk
G#m
Önce adalet, sonra güzellik
F#m
Ama aşk var
C#m
Bir tek aşk var
F#m
Aşk var mı?
A
Var...
C#m
Aşk var...
C#m
Savaştık, savaşayazdık
G#m
Yenen ağlar, yenilen ağlar
C#m
Bir baktık ki yapayalnızdık
G#m
Diyen ağlar, demeyen ağlar
F#m
Ama aşk var
C#m
Bir tek aşk var
F#m
Aşk var mı?
A
Var...
C#m
Aşk var...
A B G#m F#m7
Kaf Dağının ardına kaçsa bile aşk var
A B G#m A
Yatak çarşaflarına sıkışsa bile aşk var
F#m B
Yalnız bir titreşim olsa
G#m C#m
Ya da bir kıpırtı kalsa bile aşk var
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Bülent Ortaçgil - Aşk Var Tabs
NotesX
Harmony analysis
Bülent Ortaçgil – Aşk Var: 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.
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 both starts and finishes on C#m and C#m is heard 22 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# | 12× |
| ii7 | F#m7 | Supertonic — prepares the dominant | F# · A · C# · E | 2× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 17× |
| 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 | 10× |
| V | B | Dominant — strongest pull home | B · D# · F# | 6× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 22× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 22× |
| 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# | 12× |
| iv7 | F#m7 | Subdominant — moves away from home | F# · A · C# · E | 2× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 17× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 10× |
| 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). 6 different chords appear 69 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- G#m C#m Eiii → vi C#mv → inatural-minor cadence ×8
- F#m C#m Eii → vi C#miv → iminor plagal ×5
- A C#m EIV → vi C#mVI → iVI → i ×4
- A B EIV → VIV → V C#mVI → VIIVI → VII ×4
- F#m B Eii → Vii → V C#miv → VII ×2
The move to watch is G#m → C#m, heard 8 times. From the C#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the E side it reads iii → 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#m, 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.
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. The backbone is C#m, G#m, F#m, A — vi–iii–ii–IV from the E side, i–v–iv–VI from the C#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G#m → C#m (iii → vi in E, v → i in C#m): natural-minor cadence — gentle, modal arrival. Ending on C#m, the song seals C#m 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.
Bülent Ortaçgil - Aşk Var 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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