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 Tepe - Kırmızı Halı - Chord
Key E major – C# minor Chords Dbm, F#m, D, Bm, E, A, B, Ab Easy key G
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Key: E | Dbm | C#m
Capo: 0
Dbm
Biri önünde, biri ardında
F#m E
Ne çok seven öldü yolunda
Dbm
Sana kırmızı halılar serdiler,
F#m E
Adam oldun ya bu oyunda
Dbm
Gülmeyi kendine siper ettin,
F#m E
İşin olmadı ağlayanla
A B Dbm
Ki varsa aşkın adaleti,
A B Dbm
Ödeyeceksin bir gün ihaneti
F#m Ab
Bozmak için laneti, vazgeçtim aşkından.
Dbm
Yan, yan
D Bm
Yan sabahlara kadar ki
Dbm
Uyan, inan
D
Düşünme hiç,
Bm Dbm
Çıktım hayatından.
Dbm
Yan,
D Bm
Yan sabahlara kadar ki
Dbm
Uyan
D
Şu an tarih yazsın,
Bm Dbm
Çıktım hayatından
End of song Play again?
Gökhan Tepe - Kırmızı Halı Tabs
NotesX
Harmony analysis
Gökhan Tepe – Kırmızı Halı: key and chord analysis
The song opens on Dbm and ends on Dbm. 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)
- #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 both starts and finishes on C#m, C#m is heard 11 times against 3 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | E | Tonic — home | E · G# · B | 3× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 4× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | — |
| V/vi | Ab | Secondary dominant V/vi — leads to Dbmsecondary dominant | Ab · C · Eb | 1× |
| IV | A | Subdominant — moves away from home | A · C# · E | 2× |
| V | B | Dominant — strongest pull home | B · D# · F# | 2× |
| v | Bm | Chromatic colour chordoutside the key | B · D · F# | 4× |
| vi | Dbm | Relative minor — the melancholy side | Db · Fb · Ab | 11× |
| bVII | D | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | D · F# · A | 4× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dbm | Tonic — home | Db · Fb · Ab | 11× |
| bII | D | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | D · F# · A | 4× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 3× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 4× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | — |
| V | Ab | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Ab · C · Eb | 1× |
| VI | A | Submediant — warm colour | A · C# · E | 2× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 2× |
| vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 4× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 8 different chords appear 31 times in total; 5 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 Ab is V/vi, a secondary dominant heading for C#m. D is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- B Dbm EV → videceptive cadence C#mVII → iAeolian arrival ×2
- A B EIV → VIV → V C#mVI → VIIVI → VII ×2
- Ab Dbm EV/vi → vi C#mV → iharmonic-minor cadence ×1
- F#m Ab Eii → V/vi C#miv → Viv → V ×1
The move to watch is B → Dbm, heard 2 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 Dbm, land on Db, Fb, Ab — 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- When Ab 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening Dbm lays a solid floor for everything that follows. The backbone is Dbm, F#m, D, Bm — vi–ii–bVII–v from the E side, i–iv–bII–vii from the C#m side. Ab 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 B → Dbm (V → vi in E, VII → i in C#m): Aeolian arrival — rises a whole tone into home. The final chord is Dbm; the ear comes to rest in C#m.
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 Tepe - Kırmızı Halı 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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