Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Aysel Yakupoğlu - Ellerin Haram - Chord
Key A major – F# minor Chords C#m7, Dmaj7, E, Bm7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
C#m7 C#m7 Dmaj7 C#m7 Dmaj7
C#m7
Son bi defa, yine gel kalbime ama
Bm7 E Dmaj7 C#m7
Yok daha çok, batıyor bak en derine
C#m7
Sen bir düşün, ne derim gelene gidene
Bm7 E Dmaj7 C#m7
Nasıl zor geçiyor, gecesi de gündüzü de
C#m7
Ellerin haram bana bundan sonra senin
Dmaj7 E Dmaj7 C#m7
Unutamadım hiçbir zaman sonum oldu gözleeerin
Seni özleyip yandı bu gece de son kalan sigaram
Dmaj7 E Dmaj7 C#m7
Kalmasın bana senin en ufak bir hatııııran
C#m7 C#m7 Dmaj7 E Dmaj7 C#m7
Dmaj7 C#m7
Nasıl zorlu bir süreç bu
Bm7 C#m7
Seni aklımdan nasıl silicem
Dmaj7 C#m7
Kahroldum sonu yok mu
Bm7 C#m7
Gittin ya kalmadı kimsem
C#m7
Ellerin haram bana bundan sonra senin
Dmaj7 E Dmaj7 C#m7
Unutamadım hiçbir zaman sonum oldu gözleeerin
Seni özleyip yandı bu gece de son kalan sigaram
Dmaj7 E Dmaj7 C#m7
Kalmasın bana senin en ufak bir hatııııran
End of song Play again?
Aysel Yakupoğlu - Ellerin Haram Tabs
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Harmony analysis
Aysel Yakupoğlu – Ellerin Haram: key and chord analysis
The song opens on C#m7 and ends on C#m7. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between A major and F# minor. 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 A or to F#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 | A | Tonic — home | A · C# · E | — |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 4× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 20× |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 16× |
| V | E | Dominant — strongest pull home | E · G# · B | 7× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 4× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 20× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 16× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 7× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 47 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Dmaj7 E AIVmaj7 → VIV → V F#mVImaj7 → VIIVI → VII ×5
- Bm7 E Aii7 → Vii → V F#miv7 → VII ×2
The move to watch is Dmaj7 → E, heard 5 times. From the A side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the F#m side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Dmaj7, land on D, F#, A — 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.
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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on C#m7, the song gives away its key from the very first bar. The chords that keep coming back are C#m7, Dmaj7, E, Bm7; read them as iii7–IVmaj7–V–ii7 in A or v7–VImaj7–VII–iv7 in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dmaj7 → E (IVmaj7 → V in A, VImaj7 → VII in F#m): IV → V — the lift that builds tension before home. The final chord is C#m7; the ear comes to rest in A.
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.
Aysel Yakupoğlu - Ellerin Haram 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: Ramazan KızılpınarMusic: Ramazan KızılpınarArrangement: Yiğit Mahzuni
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