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)
Mustafa Ceceli - Bekle - Chord
Key E major – C# minor Chords Abm, A, F#m, Dbm, B, E Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
Abm A
Bekle, dönüşü vardır zor sürgünlerin de
Abm A
Bekle, hatırla bizi dar günlerinde
Telli turnalar gibi çifte kumrular gibi
Abm
Sarışıp bir sedir ağacı gölgesinde
A
Baharı selamlayıp iki çift kelamlayıp
F#m Abm
Gamsız günler geceler demlerinde
Abm Dbm
Biz gülleri severdik dikenleriyle
A Abm
Koklardık kanayana dek ellerimiz
Dbm A
Gül dikensiz olur mu ah etmezdik
F#m Abm
Bekle bekle hiç pes edermiyiz
Dbm A
Bir nasihat gibi bu sancılı hasret
B E
Miyadını doldurup biter bir gün
Dbm A
Karanlık aydınlığa kavuşur elbet
B F#m Abm
Siz o gün bayramı kutlamayı görün
Abm A
Bekle, sıcacık bir haziran sabahında
Abm A
Bekle, ısıtıp sol yanını yatağında
A
Telli turnalar gibi çifte kumrular gibi
Abm
Sarışıp bir sedir ağacı gölgesinde
A
Baharı selamlayıp iki çift kelamlayıp
F#m Abm
Gamsız günler geceler demlerinde
End of song Play again?
Mustafa Ceceli - Bekle Tabs
NotesX
Harmony analysis
Mustafa Ceceli – Bekle: key and chord analysis
The song opens on Abm and ends on Abm. 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 C#m is heard 4 times against 1 for E. 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 | 1× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 4× |
| iii | Abm | Mediant — a tonic-family shade | Ab · Cb · Eb | 12× |
| V/vi | G# | Secondary dominant V/vi — leads to Dbmsecondary dominant | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | 11× |
| V | B | Dominant — strongest pull home | B · D# · F# | 2× |
| vi | Dbm | Relative minor — the melancholy side | Db · Fb · Ab | 4× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dbm | Tonic — home | Db · Fb · Ab | 4× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 1× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 4× |
| v | Abm | Minor dominant — soft pull | Ab · Cb · Eb | 12× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 11× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 2× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 34 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
- Abm Dbm Eiii → vi C#mv → inatural-minor cadence ×3
- A B EIV → VIV → V C#mVI → VIIVI → VII ×2
- B E EV → Iauthentic cadence C#mVII → III ×1
The move to watch is Abm → Dbm, heard 3 times. From the C#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the E side it reads iii → 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 Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- 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.
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
The first chord is Abm; the ear learns where home is within a second. The chords that keep coming back are Abm, A, F#m, Dbm; read them as iii–IV–ii–vi in E or v–VI–iv–i in C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm → Dbm (iii → vi in E, v → i in C#m): natural-minor cadence — gentle, modal arrival. The final chord is Abm; the ear comes to rest in E.
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.
Mustafa Ceceli - Bekle 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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