Sezen Aksu - Şahane Bir Şey Yaşamak - Chord

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

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Capo 0

C#m   A           E
Acısıyla, tatlısıyla
       B              C#m
Ne şahane bir şey yaşamak
        A              E
Dibe vurmak, dimdik durmak
        B               C#m
Bin bahane, bin oyun kurmak

C#m  A  E  B

C#m             A
Binmişiz bir alamete
E             B
Gidiyoruz kıyamete
C#m                A
Selam söyleyin o cahil
E            B
Havva ile Adem’e

      C#m       A
Aha yine, aha yine
       E           B
Önümüz uçurum, ardımız dağ
      C#m       A
Aha yine, aha yine
       E            B
İlle yanacağız, yanacaklar
     C#m
Elbette

C#m   A           E
Acısıyla, tatlısıyla
       B              C#m
Ne şahane bir şey yaşamak
        A              E
Dibe vurmak, dimdik durmak
        B               C#m
Bin bahane, bin oyun kurmak

       C#m        A
Gül de var, diken de
E                 B
Aşk da var, savaş da
C#m              A
Her şey hepimiz için
E           B
Kısmet hayatta

D             A
Yazın veda edişi
        E           B
Şölenlerle, şarkılarla
D            A
Baharların gelişi
         E            B               C#m
Kırmızı, mor, yeşil lila la la ne şahane

End of song Play again?

Sezen Aksu - Şahane Bir Şey Yaşamak Tabs

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Harmony analysis

Sezen Aksu – Şahane Bir Şey Yaşamak: 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.

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 both starts and finishes on C#m and C#m is heard 15 times against 13 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.

Seen from E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	13×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	—
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	13×
V	B	Dominant — strongest pull home	B · D# · F#	13×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	15×
bVII	D	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	D · F# · A	2×
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#	15×
bII	D	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	D · F# · A	2×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	13×
iv	F#m	Subdominant — moves away from home	F# · A · C#	—
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	13×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	13×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 56 times in total; 4 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

A E EIV → Iplagal cadence C#mVI → III ×13
B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×11

The move to watch is A → E, heard 13 times. From the C#m side it is VI → III; from the E side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — 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

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening C#m lays a solid floor for everything that follows. The backbone is C#m, A, E, B — vi–IV–I–V from the E side, i–VI–III–VII from the C#m side. D briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). 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 C#m; the ear comes to rest in C#m.

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.