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)
Tuana - Bi Kere Öpse Bükülür Uzay - Chord
Key E major – C# minor Chords A, F#m, C#m, C Easy key G
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Key: E | Dbm | C#m
Capo: 0
A F#m C#m
A
Dağların tek zirvesi gibi
F#m C#m
Sevilmekten eskimek isterdim
A
Koşa koşa bi film izledim
F#m C
Bu filmin tek başrolü hep sendin
A F#m
Öyle güzel yaşlanırsın ki yanımda
C#m
Ol istiyorum her anımda
A F#m C#m
Teni tenime, eli elime göre yar
A F#m C#m
Sırt sırta verip direnirim yalan dünyaya
A F#m
Bi’ kere öpse bükülür uzay
C#m
Bi’ kere öpse şu ömrüm uzar
A F#m C#m
Teni tenime, eli elime göre yar
A F#m C#m
Seninle yanarım
A F#m C#m
Göğsüne karışırım, aaaahhhhh
Ah
A F#m C#m
Teni tenime, eli elime göre yar
A F#m C#m
Sırt sırta verip direnirim yalan dünyaya
A F#m
Bi’ kere öpse bükülür uzay
C#m
Bi’ kere öpse şu ömrüm uzar
End of song Play again?
Tuana - Bi Kere Öpse Bükülür Uzay Tabs
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Harmony analysis
Tuana – Bi Kere Öpse Bükülür Uzay: key and chord analysis
The song opens on A and ends on C#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 it comes to rest 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | E | Tonic — home | E · G# · B | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 13× |
| 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 | 13× |
| V | B | Dominant — strongest pull home | B · D# · F# | — |
| bVI | C | Borrowed from the parallel minorborrowed chord | C · E · G | 1× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 12× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 12× |
| 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# | 13× |
| 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 | 13× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | — |
| #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). 4 different chords appear 39 times in total; 3 of them sit naturally inside the shared scale. C is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F#m C#m Eii → vi C#miv → iminor plagal ×12
The move to watch is F#m → C#m, heard 12 times. From the C#m side it is iv → i (minor plagal: deep and melancholic); from the E side it reads ii → 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 F#m, land on F#, A, C# — 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 C, follow the chord's notes (C · E · G) 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening A lays a solid floor for everything that follows. The backbone is A, F#m, C#m, C — IV–ii–vi–bVI from the E side, VI–iv–i–#VII from the C#m side. C briefly darkens the picture: borrowed from the parallel minor. Keep an ear on F#m → C#m (ii → vi in E, iv → i in C#m): minor plagal — deep and melancholic. Ending on C#m, the song seals C#m 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.
Tuana - Bi Kere Öpse Bükülür Uzay 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: TuanaMusic: Tuana
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