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)
Gökhan Özen - Korkak - Chord
Key E major – C# minor Chords G#m, Amaj7, F#m, B, C#m, A, C#7, B7 Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
G#m Amaj7 F#m G#m
Kızgınlıklar geçer belki zamanla, kırgınlığım asla
Amaj7 F#m G#m
Olduğu kadar, olmadığı kader, binipte gidelim mi şimdi
B A C#m
İkimizden geriye bak bir oyun
B G#m A G#m
Bir oyuncak, biri çok seven biri korkak
C#m Amaj7
Korkak, başım omuzlarına ağır gelmiş ya
G#m B
Bırak bana büyük aşkını anlatma
Amaj7 G#m C#7
Ne var senin oyuncağın kırıldıysa
F#m B7 G#m
Benim, kalbim paramparça
C#m Amaj7
Korkak, başım omuzlarına ağır gelmiş ya
G#m B
Bırak bana büyük aşkını anlatma
Amaj7 G#m C#7
Ne var senin oyuncağın kırıldıysa
F#m B7 G#m
Benim, kalbim paramparça
End of song Play again?
Gökhan Özen - Korkak Tabs
NotesX
Harmony analysis
Gökhan Özen – Korkak: 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: to us the song feels closer to the C# minor side because C#m is heard 3 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 | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 4× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 11× |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | — |
| IVmaj7 | Amaj7 | Subdominant — moves away from home | A · C# · E · G# | 6× |
| IV | A | Subdominant — moves away from home | A · C# · E | 2× |
| V | B | Dominant — strongest pull home | B · D# · F# | 4× |
| V7 | B7 | Dominant — strongest pull home | B · D# · F# · A | 2× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 3× |
| V7/ii | C#7 | Secondary dominant V/ii — leads to F#msecondary dominant | C# · E# · G# · B | 2× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 3× |
| V7/iv | C#7 | Secondary dominant V/iv — leads to F#msecondary dominant | C# · E# · G# · B | 2× |
| 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# | 4× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 11× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VImaj7 | Amaj7 | Submediant — warm colour | A · C# · E · G# | 6× |
| VI | A | Submediant — warm colour | A · C# · E | 2× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 4× |
| VII7 | B7 | Subtonic — steps back to the tonic | B · D# · F# · A | 2× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 8 different chords appear 34 times in total; 7 of them sit naturally inside the shared scale. C#7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- G#m C#m Eiii → vi C#mv → inatural-minor cadence ×2
- C#7 F#m EV7/ii → iisecondary resolution C#mV7/iv → iv ×2
- F#m B7 Eii → V7ii → V C#miv → VII7 ×2
- A C#m EIV → vi C#mVI → iVI → i ×1
The move to watch is G#m → C#m, heard 2 times. From the C#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the E side it reads iii → vi. 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 Amaj7, 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
- 3 semitones up
The song's harmonic story
Starting on G#m, the song gives away its key from the very first bar. The backbone is G#m, Amaj7, F#m, B — iii–IVmaj7–ii–V from the E side, v–VImaj7–iv–VII from the C#m side. C#7 adds a moment of surprise: secondary dominant V/ii — leads to F#m. Keep an ear on G#m → C#m (iii → vi in E, v → i in C#m): natural-minor cadence — gentle, modal arrival. It closes on G#m, letting the E side have the last word.
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.
Gökhan Özen - Korkak 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: Gökhan ÖzenMusic: Gökhan ÖzenArrangement: Gökhan Özen
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