Mavi - Güller Yağar - Chord

Key E major – C# minor Chords G#, A, E, B, G#m, C#m, F#m Easy key C (capo 4)

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Capo 0

A
Seller güllerimi suluyo
   G#                        E  G#m  B
Bu senden gülmeni beklemek gibi
   A
Bi saniye dur da konuşalım
    G#                           E  G#m  B  E
Ben sen ile kurda kuş olamadım bile
 
A      G#                   A
Güller yağar, yarimin kucağına
       G#
Damlar yaşlarım damla dam damına
    F#m       E     G#
Biz önden gidiyoruz ölüme
E      G#        C#m
Güller yağar yarimin kucağına

A                                       G#m
Söyle, ahçendeki çiçeklerin her biri mi ağlar
                                   E
Kesip atsan da ağlatır bi gün bu vedalar
                                   B
Sen ne zaman istersen o zaman akar yaşım
                               A
Aşıkların yolu birbiriyle karşılaşır

A                             G#m
Sende derdim tasam, ah şunu anlasan
                                   E
Ben yıldızlara basarak tırmanırım güneşe
                                 B
Gündüzleri neşe saçar geceleri kayıp
                            A
O ne zaman isterse o zaman ona

A      G#                   A
Güller yağar, yarimin kucağına
       G#
Damlar yaşlarım damla dam damına
    F#m       E     G#
Biz önden gidiyoruz ölüme
E      G#        C#m
Güller yağar yarimin kucağına

C#m  G#
Umrumda değil
       E    G#     A           B
Duyduğuma sevindim mutlu olduğunu
A    G#          E           G#
Söyle, bi ben mi vardım aklında

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Mavi - Güller Yağar Tabs

NotesX

Harmony analysis

Mavi – Güller Yağar: key and chord analysis

The song opens on A and ends on G#. 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)
#7 = B# (harmonic-minor leading tone from the V chord)

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 because E is heard 11 times against 3 for C#m and the major V chord points straight at C#m. 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.

Seen from E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	11×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	2×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	4×
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	14×
IV	A	Subdominant — moves away from home	A · C# · E	12×
V	B	Dominant — strongest pull home	B · D# · F#	5×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	3×
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#	3×
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#	2×
v	G#m	Minor dominant — soft pull	G# · B · D#	4×
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	14×
VI	A	Submediant — warm colour	A · C# · E	12×
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). 7 different chords appear 51 times in total; 6 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G# is V/vi, a secondary dominant heading for C#m.

Chord movement

G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×2
B E EV → Iauthentic cadence C#mVII → III ×1
A B EIV → VIV → V C#mVI → VIIVI → VII ×1

The move to watch is G# → C#m, heard 2 times. From the E side it reads V/vi → vi; from the C#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically). 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#, 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
When G# comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.

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 A, the song gives away its key from the very first bar. G#, A, E, B carry the song: V/vi–IV–I–V relative to E, V–VI–III–VII relative to C#m. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G# → C#m (V/vi → vi in E, V → i in C#m): harmonic-minor cadence — the major V resolves dramatically. Ending on G#, the song seals E as home.

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.