Adamlar - Ah Be Güzelim - Chord

Key E major – C# minor Chords A, G#, C#m, B, D, G#m, E7, E … Easy key C (capo 4)

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Capo 0

C#m  A  E7  A  G#  C#m  D  G#

C#m        A
Anılarım çiçeklenir
E7        A
Aklıma hissin düşer
   G#           C#m
Ve hiç solmayan renkleri
 D          A     G#
Alır beni keser biçer

C#m  A  E7  A  G#  C#m  D  G#

C#m            A
Bi tek bu anın bildiği
E7           A
Sevgidir hep daimi
   G#           C#m
Heyhat bağırmaz kendini
  D           A    G#
Sessizlik içinde pişer

C#m  B  E7  A  G#  C#m  D  C  G#

B          A          G#
Özlemek yetmez kavuşmaya
B           A    G#
Satırlar da eh işte
B         A   G#
Aşıkların ahıyla
B           A     E  D#
Şarkı olsak ya keşke

G#m         A      G#m        B
Aşk havalan bende, meşkte yüzelim
G#m          A       E         B
Gel naz etme sen de, ah be güzelim

C#m
Döküldü pul, gönül yorgun

Durur büyür, büyür kanar

İnce uzun yanar odun
  D            A    G#
Yanar durur, gene yanar

C#m  F#m  E  A   G#  C#m  D  G#m

B          A          G#
Özlemek yetmez kavuşmaya
B           A    G#
Satırlar da eh işte
B         A   G#
Aşıkların ahıyla
B           A     E  D#
Şarkı olsak ya keşke

G#m         A      G#m        B
Aşk havalan bende, meşkte yüzelim
G#m          A       E         B
Gel naz etme sen de, ah be güzelim

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Adamlar - Ah Be Güzelim Tabs

NotesX

Harmony analysis

Adamlar – Ah Be Güzelim: key and chord analysis

The song opens on C#m and ends on B. 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: to us the song feels closer to the C# minor side because it opens on C#m, C#m is heard 13 times against 10 for E and the major V chord points straight at C#m. 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	5×
V7/IV	E7	Secondary dominant V/IV — leads to Asecondary dominant	E · G# · B · D	5×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	1×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	7×
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	18×
IV	A	Subdominant — moves away from home	A · C# · E	25×
V	B	Dominant — strongest pull home	B · D# · F#	13×
bVI	C	Borrowed from the parallel minorborrowed chord	C · E · G	1×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	13×
bVII	D	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	D · F# · A	7×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—
V/iii	D#	Secondary dominant V/iii — leads to G#msecondary dominant	D# · G · A#	2×

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	13×
bII	D	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	D · F# · A	7×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
V/v	D#	Secondary dominant V/v — leads to G#msecondary dominant	D# · G · A#	2×
III	E	Relative major — the bright side	E · G# · B	5×
V7/VI	E7	Secondary dominant V/VI — leads to Asecondary dominant	E · G# · B · D	5×
iv	F#m	Subdominant — moves away from home	F# · A · C#	1×
v	G#m	Minor dominant — soft pull	G# · B · D#	7×
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	18×
VI	A	Submediant — warm colour	A · C# · E	25×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	13×
#VII	C	Chromatic colour chordoutside the key	C · E · G	1×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 11 different chords appear 97 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. E7, D# act as secondary dominants, briefly pointing at another chord of the key. D, C are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×11
E7 A EV7/IV → IVsecondary resolution C#mV7/VI → VI ×5
A E7 EIV → V7/IVplagal cadence C#mVI → V7/VI ×4
A E EIV → Iplagal cadence C#mVI → III ×4
B E7 EV → V7/IVauthentic cadence C#mVII → V7/VI ×1
B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×1

The move to watch is G# → C#m, heard 11 times. From the C#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the E side it reads V/vi → 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over G#, land on G#, B#, D# — 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.
When G# comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.
On D, follow the chord's notes (D · F# · A) 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 first chord is C#m; the ear learns where home is within a second. A, G#, C#m, B carry the song: IV–V/vi–vi–V relative to E, VI–V–i–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 B, 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.