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)
Doğuş - Kancıkça - Chord
Key E major – C# minor Chords C#m, D, F#m, Bm, E Easy key D (capo 2)
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Key: E | Dbm | C#m
Capo: 0
C#m D C#m D F#m D Bm C#m
C#m E
Bin defa öldüm hüzne gömüldüm
F#m D
Kalbimin tam ortasına hep mi yanlış
Bm C#m
Hep mi boş yaptın
C#m E
Kıyılarım ayaz bağır avaz avaz
F#m D
Sesimi duyan yok oflarım çok
Bm C#m
Pişmanım çok
C#m D C#m D
Beni hiç kırma sırtımdan vurma
F#m D Bm C#m
Yerlere atıp hatrımı sorma
D C#m D
Ne oldu sana deyipte durma
F#m D Bm C#m
Gözüme baka baka kancıkça vurma
C#m D C#m D
Beni hiç kırma sırtımdan vurma
F#m D Bm C#m
Yerlere atıp hançeri vurma
D C#m D
Ne oldu sana deyipte durma
F#m D Bm C#m
Gözüme baka baka kancıkça vurma
C#m D C#m D F#m D Bm C#m
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Doğuş - Kancıkça Tabs
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Harmony analysis
Doğuş – Kancıkça: 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 20 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# | 8× |
| 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# | 20× |
| bVII | D | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | D · F# · A | 20× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 20× |
| bII | D | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | D · F# · A | 20× |
| 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# | 8× |
| 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 58 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 D, land on D, F#, A — 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.
- 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 opening C#m lays a solid floor for everything that follows. The chords that keep coming back are C#m, D, F#m, Bm; read them as vi–bVII–ii–v in E or i–bII–iv–vii in C#m. D briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). 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.
Doğuş - Kancıkça 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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Lyrics: DoğuşMusic: DoğuşArrangement: İshak Şık
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