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)
Kerim Araz - Toparlanmam Lazım - Chord
Key E major – C# minor Chords G#m, A, F#m Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
x2
G#m A F#m
G#m A
Umudum gecene düşer orada boğulur
F#m G#m
Bir çıkış yolu yok malum
A
Deli gönlüme bu şişelerin sonu hep umut
F#m G#m
Yarınım yok yok malum
G#m A F#m
Düşüyorum toparlanmam lazım
G#m
Susmam lazım
A
Anıları silip unutmam lazım
F#m G#m
Gönlüm değil hiç razı
A
Geçmişi silip bugüne dönmem lazım
F#m G#m
Savaşmam lazım
G#m A
Bana şimdi bir sigara birde sen lazım
F#m G#m
Onu yakmam lazım
G#m A
Umudum gecene düşer orada boğulur
F#m G#m
Bir çıkış yolu yok malum
A
Deli gönlüme bu şişelerin sonu hep umut
F#m G#m
Yarınım yok yok malum
x2
G#m A F#m
G#m A F#m G#m
Yapamıyorum yine söz geçiremiyorum kendime bak
A F#m G#m
Alışamıyorum zindan evim odam hep pişman oluyorum of
A
Sonu yok sonu yok sonu yook
F#m G#m
Bu yolun bana hiç sonu yok
A
Doluyor doluyor doluyor
F#m G#m
Kurtuluşun adı yok
G#m A
Umudum gecene düşer orada boğulur
F#m G#m
Bir çıkış yolu yok malum
A
Deli gönlüme bu şişelerin sonu hep umut
F#m G#m
Yarınım yok yok malum
End of song Play again?
Kerim Araz - Toparlanmam Lazım Tabs
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Harmony analysis
Kerim Araz – Toparlanmam Lazım: key and chord analysis
The song opens on G#m and ends on G#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: 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | E | Tonic — home | E · G# · B | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 16× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 22× |
| III | G# | Chromatic colour chordoutside the key | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | 16× |
| V | B | Dominant — strongest pull home | B · D# · F# | — |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | — |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | — |
| 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# | 16× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 22× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 16× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | — |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 3 different chords appear 54 times in total; 3 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
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 G#m, land on G#, B, D# — 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.
- Over F#m, 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
- 4 semitones down · capo 4 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is G#m; the ear learns where home is within a second. G#m, A, F#m carry the song: iii–IV–ii relative to E, v–VI–iv relative to C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is G#m; 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.
Kerim Araz - Toparlanmam Lazım 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: Kerim ArazMusic: Kerim ArazArrangement: Kerim Araz
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