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)
Yaşlı Amca - Hoş - Chord
Key E major – C# minor Chords E, B, F#, A, G#m, D# Easy key D (capo 2)
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Key: E | Dbm | C#m
Capo: 0
E
Sen ne kadar hoş
B F#
Olduğunun farkında mısın?
E
Şık olsun ya da hoş
E
Ben ne kadar boş
B F# E
Konuşsam, pür dikkat dinliyo musun, ha
E
Niye böyle oluyo off
B
Yazdığım da yükseliyor
F# E
Kuuuuuş
E B A E
Bence sen kimseye
E B A
Söyleme, söyleme
E B A E
Ooooh ben söylerim
B A E
Ooooh ben söylerim
G#m B F#
G#m B
Darmadağınsın
F# D#
Beni bu kadar anlayamazsın
G#m B
Saçma sapan cümleleri
F#
Sende bir anlamı var
E
Duyuyor musun?
B
Ne güzel yerdeyim
F#
Özgürüz diye
E
Hmmmmmm
E
Doğru zamanda
B
Doğru kişi
F# E B F# D#
Sen misiiiiiiiiiin
E B A E
Bence sen kimseye
E B A
Söyleme, söyleme
E B A E
Ooooh ben söylerim
B A E
Ooooh ben söylerim
End of song Play again?
Yaşlı Amca - Hoş Tabs
NotesX
Harmony analysis
Yaşlı Amca – Hoş: key and chord analysis
The song opens on E and ends on E. 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 E major side because it both starts and finishes on E and E is heard 22 times while C#m never appears. That is an interpretation, not a rule — hearing the same chords from C# minor is just as valid and teaches you something different.
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 | 22× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| V/V | F# | Secondary dominant V/V — leads to Bsecondary dominant | F# · A# · C# | 9× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 3× |
| III | G# | Chromatic colour chordoutside the key | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | 8× |
| V | B | Dominant — strongest pull home | B · D# · F# | 17× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | — |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| V/iii | D# | Secondary dominant V/iii — leads to G#msecondary dominant | D# · G · A# | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | — |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| V/v | D# | Secondary dominant V/v — leads to G#msecondary dominant | D# · G · A# | 2× |
| III | E | Relative major — the bright side | E · G# · B | 22× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| IV | F# | Major IV — Dorian / melodic-minor colourmodal colour | F# · A# · C# | 9× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 3× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 8× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 17× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 61 times in total; 4 of them sit naturally inside the shared scale. F#, D# act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- A E EIV → Iplagal cadence C#mVI → III ×8
The move to watch is A → E, heard 8 times. From the E side it reads IV → I (plagal cadence: the soft 'amen' ending); from the C#m side it is VI → 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 E, land on E, G#, B — 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 F#, 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening E lays a solid floor for everything that follows. E, B, F#, A carry the song: I–V–V/V–IV relative to E, III–VII–IV–VI relative to C#m. F# adds a moment of surprise: secondary dominant V/V — leads to B. Keep an ear on A → E (IV → I in E, VI → III in C#m): plagal cadence — the soft 'amen' ending. The final chord is E; the ear comes to rest in E.
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.
Yaşlı Amca - Hoş 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: Artun ÖzoğluMusic: Artun ÖzoğluArrangement: Yaşlı Amca
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