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)
Sezer Sarıgöz - Ne Ay Geceden - Chord
Key E major – C# minor Chords G#m7, C#m7, A, F#m7, B, C#m Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
F#m7 G#m7 C#m7
F#m7 G#m7 C#m7
Korkmadan yürüyorum karanlığa
F#m7 G#m7 C#m7
Ah, bir bilsen nasıl zor geliyor hayat
F#m7 G#m7 C#m7 A
Ayrılıktan yana bu şarkılar varken
F#m7 G#m7 C#m
Bitmek bilmeyen bütün bu yaşanmışlıklar
A B G#m7
Görmüyorlar, duymuyorlar, anlamıyorlar
C#m7
Hasretinle yandığımı
A B
Ne ay geceden ayrılmayı bırakır
G#m7 C#m7
Ne de ben, senin güzel gözlerinden kaçmayı
A B G#m7 C#m7
Ölümden korkuyorlar, oysaki senden ayrılmanın
A
Acısını bilmiyorlar
A B G#m7 C#m7 A B G#m7 C#m7
End of song Play again?
Sezer Sarıgöz - Ne Ay Geceden Tabs
NotesX
Harmony analysis
Sezer Sarıgöz – Ne Ay Geceden: key and chord analysis
The song opens on F#m7 and ends on C#m7. 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 comes to rest on C#m and C#m is heard 10 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | E | Tonic — home | E · G# · B | — |
| ii7 | F#m7 | Supertonic — prepares the dominant | F# · A · C# · E | 5× |
| iii7 | G#m7 | Mediant — a tonic-family shade | G# · B · D# · F# | 10× |
| 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 | 7× |
| V | B | Dominant — strongest pull home | B · D# · F# | 5× |
| vi7 | C#m7 | Relative minor — the melancholy side | C# · E · G# · B | 9× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 1× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | C#m7 | Tonic — home | C# · E · G# · B | 9× |
| i | C#m | Tonic — home | C# · E · G# | 1× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | — |
| iv7 | F#m7 | Subdominant — moves away from home | F# · A · C# · E | 5× |
| v7 | G#m7 | Minor dominant — soft pull | G# · B · D# · F# | 10× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 7× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 5× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 37 times in total; 6 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
- G#m7 C#m7 Eiii7 → vi7 C#mv7 → i7natural-minor cadence ×9
- A B EIV → VIV → V C#mVI → VIIVI → VII ×5
- G#m7 C#m Eiii7 → vi C#mv7 → inatural-minor cadence ×1
The move to watch is G#m7 → C#m7, heard 9 times. From the C#m side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the E side it reads iii7 → vi7. 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 G#m7, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over C#m7, 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.
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
- 3 semitones up
The song's harmonic story
Starting on F#m7, the song gives away its key from the very first bar. G#m7, C#m7, A, F#m7 carry the song: iii7–vi7–IV–ii7 relative to E, v7–i7–VI–iv7 relative to C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G#m7 → C#m7 (iii7 → vi7 in E, v7 → i7 in C#m): natural-minor cadence — gentle, modal arrival. The final chord is C#m7; 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.
Sezer Sarıgöz - Ne Ay Geceden 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: Sezer SarıgözMusic: Sezer SarıgözArrangement: Yiğit Seferoğlu
Sefa Nuh Polat
Sefa Nuh Polat
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