Yaşlı Amca - Devam - Chord

Key E major – C# minor Chords B, C#m, F#, C#, Bb7, F Easy key F

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Capo 0

C#m  B  C#m  B  C#m  B  F#

C#m                  B
Söyleyip de söyleyemedin
C#m             B
İçine atıp kemirdin
C#m                  B
Kendini yiyip bitirdiğin
                 F#
Değdi mi hayat hayat

C#m            F#
Geçmişine yenildin
C#m                F#
İstesen de yetişemedin
C#m                  F#
Öyle böyle yediremediğin
           B     Bb7   F#
Bu hayat gelir geçer devam

B  F#   B  F#  C#
Boşver, boşver  göğsünde yananlarla
B
Aklında kalanlarla
   F    B  F#  C#
Boşver, boşver  istersen yalanlarla
B                     F#
İstersen kalanlarla devam

C#m  B  C#m  B  F#  C#m  F#

End of song Play again?

Yaşlı Amca - Devam Tabs

NotesX

Harmony analysis

Yaşlı Amca – Devam: key and chord analysis

The song opens on C#m and ends on F#. 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 opens on C#m and C#m is heard 12 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.

Seen from E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	—
bII	F	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F · A · C	1×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	—
V/V	F#	Secondary dominant V/V — leads to Bsecondary dominant	F# · A# · C#	12×
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	—
#IV7	Bb7	Chromatic colour chordoutside the key	Bb · D · F · Ab	1×
V	B	Dominant — strongest pull home	B · D# · F#	14×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	12×
V/ii	C#	Secondary dominant V/ii — leads to F#msecondary dominant	C# · E# · G#	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#	12×
V/iv	C#	Secondary dominant V/iv — leads to F#msecondary dominant	C# · E# · G#	2×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	—
#III	F	Chromatic colour chordoutside the key	F · A · C	1×
iv	F#m	Subdominant — moves away from home	F# · A · C#	—
IV	F#	Major IV — Dorian / melodic-minor colourmodal colour	F# · A# · C#	12×
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	—
#VI7	Bb7	Chromatic colour chordoutside the key	Bb · D · F · Ab	1×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	14×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 42 times in total; 2 of them sit naturally inside the shared scale. F#, C# act as secondary dominants, briefly pointing at another chord of the key. F is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×5

The move to watch is B → C#m, heard 5 times. From the C#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the E side it reads V → vi (deceptive cadence: expected E, lands on C#m). 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 B, land on B, D#, F# — 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.
Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
On F, follow the chord's notes (F · A · C) 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

1 semitone up
3 semitones up

The song's harmonic story

Starting on C#m, the song gives away its key from the very first bar. B, C#m, F#, C# carry the song: V–vi–V/V–V/ii relative to E, VII–i–IV–V/iv relative to C#m. F# adds a moment of surprise: secondary dominant V/V — leads to B. Keep an ear on B → C#m (V → vi in E, VII → i in C#m): Aeolian arrival — rises a whole tone into home. It closes on F#, 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.