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)
Melike Şahin - Sev Seveceksen - Seda Erciyes - Chord
Key E major – C# minor Chords Amaj7, G#m7, G#7 Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
Amaj7 Amaj7 G#m7 G#m7
Amaj7
Gidiyor öyle kuşkusuz
Kalır üstüme sorgusu
G#m7
Marifeti kusursuz geceler huzursuz
Amaj7
Yara bere içi kopkoyu
Minik bi sevgi tortusu
G#m7 G#7
Göremedim huysuz, alacağın olsun
Amaj7
Sev seveceksen
Öpeceksen hatrıma öpme
G#m7
Gelsin içinden
Acıtır gerçeğini bilirsem
x2
Amaj7 Amaj7 G#m7 G#m7
Amaj7
Belli değil suçlusu
Yok ki bunun haklısı
G#m7
Gidemedim beni durdur
Sana yine mecbur
Amaj7
Kalmasın hiç aklında
Denedim esasında
G#m7
Bilemedim ne söylenir
Oldum esiri gururumun
Amaj7
Sev seveceksen
Öpeceksen hatrıma öpme
G#m7
Gelsin içinden
Acıtır gerçeğini bilirsem
x2
End of song Play again?
Melike Şahin - Sev Seveceksen - Seda Erciyes Tabs
NotesX
Harmony analysis
Melike Şahin – Sev Seveceksen - Seda Erciyes: key and chord analysis
The song opens on Amaj7 and ends on G#m7. 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 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 | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| iii7 | G#m7 | Mediant — a tonic-family shade | G# · B · D# · F# | 10× |
| III7 | G#7 | Chromatic colour chordoutside the key | G# · B# · D# · F# | 1× |
| IVmaj7 | Amaj7 | Subdominant — moves away from home | A · C# · E · G# | 10× |
| V | B | Dominant — strongest pull home | B · D# · F# | — |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | — |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | — |
| 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# | — |
| v7 | G#m7 | Minor dominant — soft pull | G# · B · D# · F# | 10× |
| V7 | G#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# · F# | 1× |
| VImaj7 | Amaj7 | Submediant — warm colour | A · C# · E · G# | 10× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | — |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 3 different chords appear 21 times in total; 2 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.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over G#m7, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over G#7, land on G#, B#, D# — the chord's own tones always sound right on strong beats.
- When G#7 comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.
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
Starting on Amaj7, the song gives away its key from the very first bar. The backbone is Amaj7, G#m7, G#7 — IVmaj7–iii7–III7 from the E side, VImaj7–v7–V7 from the C#m side. G#7 is the interesting twist: in E it is a chromatic chord (III7), while in C#m it becomes the dominant (V7) that makes the minor side sound so determined. Ending on G#m7, 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.
Melike Şahin - Sev Seveceksen - Seda Erciyes 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: Seda Erciyes, Zeki Alper GülayMusic: Seda Erciyes, Mehmet Mutlu, Zeki Alper Gülay
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