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)
Jehrmar - Kengi - Chord
Key E major – C# minor Chords G#m, E, C#m, A, G Easy key C (capo 4)
No ratings yet
or your user informations
Make it yours
Text size
Key: E | Dbm | C#m
Capo: 0
G#m E G C#m G#m C#m G#m A G#m A G#m
G#m E G#m E
Bêkes im ez nav van daran
G#m E
Di fikirim hemû rojan
G#m E
Di nivîsim pê sibera daran
G#m E
Di nivîsim pê
C#m G#m C#m
Kengî dilêm, dilêm xweş bit
G#m
Kengî rû ronah be
C#m G#m A G#m
Kengî dilêm ewindare hevîdarim ez
A G#m
Hevîdarim ez
G#m E G C#m G#m C#m G#m A G#m A G#m
G#m E G#m E
Bê dil nadim emrê xwe
G#m
Wekî baran kulîlk nebe
C#m G#m
Tirsim jîyanek derew bêt min
E G#m
Nav minda kulîlk nebe
E G#m
Nav minda
C#m G#m C#m
Kengî dilêm, dilêm xweş bit
G#m
Kengî rû ronah be
C#m G#m A G#m
Kengî dilêm ewindare hevîdarim ez
A G#m
Hevîdarim ez
Türkçesi
Kimsesizim bu ağaçların içinde
Düşünürüm her gün
Yazarım ağaçların gölgesiyle
Ne zaman gönlüm, gönlüm hoş olacak
Ne zaman gözüm aydınlanacak
Ne zaman gönlüm aşıktır, umutluyum ben
Gönülsüz vermem ömrümü
Yağmur gibi çiçek olmazsa
Korkarım yalan bir hayat gelir bana
İçimde çiçek olmazsa
End of song Play again?
Jehrmar - Kengi Tabs
NotesX
Harmony analysis
Jehrmar – Kengi: 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 | 11× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| bIII | G | Borrowed from the parallel minorborrowed chord | G · B · D | 2× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 31× |
| 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 | 8× |
| V | B | Dominant — strongest pull home | B · D# · F# | — |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 11× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 11× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 11× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| #IV | G | Chromatic colour chordoutside the key | G · B · D | 2× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 31× |
| 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# | — |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 63 times in total; 4 of them sit naturally inside the shared scale. G is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- G#m C#m Eiii → vi C#mv → inatural-minor cadence ×8
The move to watch is G#m → C#m, heard 8 times. From the E side it reads iii → vi; from the C#m side it is v → i (natural-minor cadence: gentle, modal arrival). 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#m, land on G#, B, D# — 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.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- On G, follow the chord's notes (G · B · D) 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
- 4 semitones down · capo 4 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening G#m lays a solid floor for everything that follows. G#m, E, C#m, A carry the song: iii–I–vi–IV relative to E, v–III–i–VI relative to C#m. G briefly darkens the picture: borrowed from the parallel minor. Keep an ear on G#m → C#m (iii → vi in E, v → i in C#m): natural-minor cadence — gentle, modal arrival. 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.
Jehrmar - Kengi 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: JehrmarMusic: Jehrmar
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.