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)
Elyas ve Taha - İncinmesin Kanatların - Chord
Key E major – C# minor Chords C#m, B, A, F#m, E Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: E | Dbm | C#m
Capo: 0
C#m B
Gel, seni hiç beklemezken
A
Keşkeler birikmişken
Uzan gizlerime
C#m B F#m
Of bu sonsuzlukta
A
Savrulup giden
C#m
Bir sen ol yeter
B A
Benimle beraber
E
Benimle beraber
C#m B
Dağılmış kafamda biraz sen, içinde biraz ben
A
Yani soyut bir resimden hiç farkım yok
C#m
Donup kalmışım bu şarkılarda yalnız
B A
Gülüşlerine dalıp dalıp var olmak imkansız
Satılarca yankılanır bir kadın
F#m
Ve şairiyim gözlerinde kaybolan bulutların
C#m
Bugün biraz farklıyım
İçim dışım kararmış
E
Bi tek seni sevmeyi bilen
B
Yararsız bi adammışım
A
Biraz da salakmışım
Gözlerin bi sanatmış ve
F#m
Tanrım seni meleklerin küllerinden yaratmış
C#m
Şimdi al aklımı
Doğ benimle sabahları
B
Giy üstüne bol bi şeyler incinmesin kanatların
A
Gülünce yüz hatların of
C#m
İnan bana çiçekleri afallatır
End of song Play again?
Elyas ve Taha - İncinmesin Kanatların Tabs
NotesX
Harmony analysis
Elyas ve Taha – İncinmesin Kanatların: 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 8 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# | 3× |
| 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 | 7× |
| V | B | Dominant — strongest pull home | B · D# · F# | 7× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 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# | 8× |
| 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# | 3× |
| 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 | 7× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 7× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 27 times in total; 5 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
- A C#m EIV → vi C#mVI → iVI → i ×4
- F#m C#m Eii → vi C#miv → iminor plagal ×2
- A E EIV → Iplagal cadence C#mVI → III ×1
The move to watch is A → C#m, heard 4 times. From the C#m side it is VI → i (VI → i: falls a half step into home); from the E side it reads IV → 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 B, land on B, D#, F# — 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
- 3 semitones up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on C#m, the song gives away its key from the very first bar. The backbone is C#m, B, A, F#m — vi–V–IV–ii from the E side, i–VII–VI–iv 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 A → C#m (IV → vi in E, VI → i in C#m): VI → i — falls a half step into home. It closes on C#m, letting the C#m 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.
Elyas ve Taha - İncinmesin Kanatların 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Elyas ve TahaMusic: Elyas ve Taha
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.