Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Şekersiz - Ceza Bu Aşk - Chord
Key C major – A minor Chords Em, Fmaj7, Dm, Am, C, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Fmaj7 Em Dm Em Öldürür o yerlerde kalbimi, ceza bu aşk Fmaj7 Em Dm Am Söndürür kadehlerde kendini, yavaş yavaş Fmaj7 Em Dm Em Fmaj7 Em Dm C Fmaj7 Kalmadı sana ne bir öfke kinim Em Saf yüreğime dönüyorum evim Sanma ki soğuk Dm Am Düşünme ki soğuk olur Fmaj7 Kalp açık yara görünüyor derin Em Bak güzelime konuşuyor emin Ne söylesem yalan Dm Am Gerisi de dolan olur Fmaj7 G Akmasın mümkünse yaşlar Dm Em Yastığım kurudur Fmaj7 Em Öğrenir aldıkça yaşlar Dm Am İnsan bu; olur Fmaj7 G Kendini saklarsın elbet Dm Em Bir süre durulur Fmaj7 Em Nereye kaçarsan kaç da Dm Am Sanma unutulur Fmaj7 Em Dm Em Öldürür o yerlerde kalbimi, ceza bu aşk Fmaj7 Em Dm Am Söndürür kadehlerde kendini, yavaş yavaş x2 Fmaj7 Em Dm Em Fmaj7 Em Dm C
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Şekersiz - Ceza Bu Aşk Tabs
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Harmony analysis
Şekersiz – Ceza Bu Aşk: key and chord analysis
The song opens on Fmaj7 and ends on C. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (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 C major and A minor because it comes to rest on C and Am is heard 6 times against 2 for C. 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 C or to Am; 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 | C | Tonic — home | C · E · G | 2× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 14× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 18× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 14× |
| V | G | Dominant — strongest pull home | G · B · D | 2× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 6× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 6× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 2× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 14× |
| v | Em | Minor dominant — soft pull | E · G · B | 18× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 14× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 2× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 56 times in total; 6 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
- Dm Am Cii → vi Amiv → iminor plagal ×6
- Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×2
The move to watch is Dm → Am, heard 6 times. From the C side it reads ii → vi; from the Am side it is iv → i (minor plagal: deep and melancholic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Fmaj7 lays a solid floor for everything that follows. Em, Fmaj7, Dm, Am carry the song: iii–IVmaj7–ii–vi relative to C, v–VImaj7–iv–i relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. It closes on C, letting the C side have the last word.
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.
Şekersiz - Ceza Bu Aşk 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: Yunus Emre GökMusic: Yunus Emre GökArrangement: Şekersiz, Furkan Karadeniz
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