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)
Kubat - Bahçe Duvarından Aştım - Chord
Key E major – C# minor Chords Bb, A, Dm Easy key B (capo 5)
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Key: E | Dbm | C#m
Capo: 0
A Bb Bahça duvarından aştım, bahça duvarından aştım Dm Bb Sarmaşık güllere dolaştım A Bb Öptüm sevdiğim helaleştım, öptüm sevdiğim helaleştım Dm Bb Yanıyorum yanıyorum yanıyorum hele Dm Bb A Dm Bb A Mahi oldum gonca güle, acem şalı ince bele Dm Bb A Acem şalı ince bele A Bb Bir bakışta yaktın beni, bir bakışta yaktın beni Dm Bb Dert ile bıraktın beni A Bb Yaktın beni yaktın beni, yaktın beni yaktın beni Dm Bb Yanıyorum yanıyorum yanıyorum hele Dm Bb A Dm Bb A Mahi oldum gonca güle, acem şalı ince bele Dm Bb A Acem şalı ince bele A Bb Yeter naz eyleme bana, gayri naz eyleme bana Dm Bb Gel göreyim kana kana A Bb Aşık oldum canım sana, aşık oldum gülüm sana Dm Bb Yanıyorum yanıyorum yanıyorum hele Dm Bb A Dm Bb A Mahi oldum gonca güle, acem şalı ince bele Dm Bb A Acem şalı ince bele
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Kubat - Bahçe Duvarından Aştım Tabs
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Harmony analysis
Kubat – Bahçe Duvarından Aştım: key and chord analysis
The song opens on A and ends on A. 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: we can't honestly pick a side here — the song moves freely between E major and C# 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 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# | — |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | — |
| III | G# | Chromatic colour chordoutside the key | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | 15× |
| #IV | Bb | Chromatic colour chordoutside the key | Bb · D · F | 21× |
| V | B | Dominant — strongest pull home | B · D# · F# | — |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | — |
| bvii | Dm | Chromatic colour chordoutside the key | D · F · A | 15× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | — |
| bii | Dm | Chromatic colour chordoutside the key | D · F · A | 15× |
| 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# | — |
| v | G#m | Minor dominant — soft pull | G# · B · D# | — |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 15× |
| #VI | Bb | Chromatic colour chordoutside the key | Bb · D · F | 21× |
| 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 51 times in total; 1 of them sit naturally inside the shared scale. Bb, Dm step outside the scale as colour chords.
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 Bb, land on Bb, D, F — 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 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 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening A lays a solid floor for everything that follows. Bb, A, Dm carry the song: #IV–IV–bvii relative to E, #VI–VI–bii relative to C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on A, 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.
Kubat - Bahçe Duvarından Aştım 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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