Reynmen - Melek - Chord

Key E major – C# minor Chords C#m, G#m, B, F# Easy key F

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Capo 0

C#m  G#m  B  F#

C#m             G#m
 Hazır değildin, bir anda oluverdi
B                   F#
 Nasıl anlatsam sana içimdeki bu derdi
C#m           G#m
 Olamıyorum ya hayallerime mani
B                         F#
 Seni bir gün görse güneş, utanıp da sönerdi

C#m            G#m
Çoook güzelsin yani
                           B
Meleksin bu garip çocuksa fani

Düştün gökyüzümden
         F#
Gözümdeki halkalar hep senin yüzünden

    C#m          G#m
Hiç yook ki ihtimali
                          B
Ne olur o zaman bu benim halim
                    F#
Dayanmak çok zor buna

Beni de al yanına

C#m  G#m
 Ooo, beni de al yanına 
B    F#
 Ooo, gidelim bu dünyadan

         C#m
Geçeceği yok, çektim dertleri
        G#m
Düzenim kalmadı, razıyım her şeye
        B
Ya beni al ya da öldür 
     F#
Beni yor, beni boğ, beni soy, benim ol

     C#m
Deli oldum bak sana
          G#m
Rüyayla yaşamında arasında
        B
Sıkışıp kaldım inandım aah 
         F#
Yalanlarına

             C#m
Bir yerdeyim yol var
          G#m
Sonunda diyorlar
                 B
Hiç uğraşma bi daha olmaz
           F#
Bu saatten sonra

C#m            G#m
Çoook güzelsin yani
                           B
Meleksin bu garip çocuksa fani

Düştün gökyüzümden
         F#
Gözümdeki halkalar hep senin yüzünden

    C#m          G#m
Hiç yook ki ihtimali
                          B
Ne olur o zaman bu benim halim
                    F#
Dayanmak çok zor buna

Beni de al yanına

C#m  G#m
 Ooo, beni de al yanına 
B    F#
 Ooo, gidelim bu dünyadan

End of song Play again?

Reynmen - Melek Tabs

NotesX

Harmony analysis

Reynmen – Melek: key and chord analysis

The song opens on C#m and ends on F#. 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: to us the song feels closer to the C# minor side because it opens on C#m and C#m is heard 12 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.

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#	—
V/V	F#	Secondary dominant V/V — leads to Bsecondary dominant	F# · A# · C#	12×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	12×
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#	12×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	12×
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#	12×
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#	—
IV	F#	Major IV — Dorian / melodic-minor colourmodal colour	F# · A# · C#	12×
v	G#m	Minor dominant — soft pull	G# · B · D#	12×
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#	12×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 48 times in total; 3 of them sit naturally inside the shared scale. F# acts as a secondary dominant, briefly pointing at another chord of the key.

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 G#m, land on G#, B, D# — 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.

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

1 semitone 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, G#m, B, F# — vi–iii–V–V/V from the E side, i–v–VII–IV from the C#m side. F# adds a moment of surprise: secondary dominant V/V — leads to B. Ending on F#, 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.