Gökhan Türkmen - Aşktır - Chord

Key E major – C# minor Chords F#m, Bm, C#m, D, E Easy key D (capo 2)

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Capo 0

       Bm         C#m        F#m
Başka bir hikaye var gözlerimizde
       Bm        C#m        F#m
Yarım kalmış hep defterlerimizde
       Bm       C#m          F#m
Yüzünü görmekten hiç mi hiç bıkmamıştım
      Bm         C#m        F#m
Bir el verdin şimdi o el tam yüreğimde

F#m                               Bm
Ne olur ne olur o gözlerin hiç kısılmasın
D         E          F#m
Bir bakmışsın yanıbaşındayım
F#m                         Bm
Delirmiş olsam da ben sende saklıyım
D         E               F#m
O zamandayım, şimdideyim, sendeyim

F#m                          Bm
Yastığıma terin düşmüş, bir damlası durur
D              E     F#m             
Başımı her koyuşumda sana karışır
F#m                           Bm
Aşktır, kimse bilmez, kimse bilmez bilmesi de gerekmez
D            E             F#m             
İğne atsan yere düşer bu kalp temiz

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Gökhan Türkmen - Aşktır Tabs

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Harmony analysis

Gökhan Türkmen – Aşktır: key and chord analysis

The song opens on Bm and ends on F#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)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between E major and C# minor. Try reading the chords both ways and see which feels more like home to you.

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	4×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	12×
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	—
V	B	Dominant — strongest pull home	B · D# · F#	—
v	Bm	Chromatic colour chordoutside the key	B · D · F#	8×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	4×
bVII	D	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	D · F# · A	4×
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#	4×
bII	D	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	D · F# · A	4×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	4×
iv	F#m	Subdominant — moves away from home	F# · A · C#	12×
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	—
VII	B	Subtonic — steps back to the tonic	B · D# · F#	—
vii	Bm	Chromatic colour chordoutside the key	B · D · F#	8×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 32 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

D E EbVII → IbVII → I C#mbII → III ×4

The move to watch is D → E, heard 4 times. From the E side it reads bVII → I (bVII → I: a rock / Mixolydian arrival); from the C#m side it is bII → III. 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over C#m, land on C#, E, G# — 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

2 semitones down · capo 2 keeps the original pitch
3 semitones up

The song's harmonic story

The first chord is Bm; the ear learns where home is within a second. The backbone is F#m, Bm, C#m, D — ii–v–vi–bVII from the E side, iv–vii–i–bII from the C#m side. D briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on D → E (bVII → I in E, bII → III in C#m): bVII → I — a rock / Mixolydian arrival. Ending on F#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.