Pilli Bebek - Çoğu Zaman - Chord

Key E major – C# minor Chords C#, C#m, G#, F#, A, E, Fm, B … Easy key C (capo 4)

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Capo 0

C#m  A  C#m  A

C#m         A
Çoğu zaman küçük bir an
G#             C#m
Yeteri kadar anlatır
C#m         A
Bağışlanan bir çocukla
G#             C#m
Aynı oyunda oynaşır


B         E
Başucunda aynı düş
   B              E
Aynı kitap aynı gülüş
B       E             F#          Eb
Sıkılır kolaylığın kupkuru coşkusundan,
D#m       G#
Kalabalığından
            C#
Uzanır mavi mercana çiçek,
          Eb
Çiçek bir rüzgara
      F#m   E    B
Renk renk görür gece 
A     G#       C#
Usul usul parlayınca,
        F#        G#     C#
Aklımda bir huzur binbir gece


E  F#m  D#m  C#m  C#  F#m  G#  C#m


C#           Bbm      Fm
Sonuna kadar seyreder alem
    F#           C#
Yanağında gökyüzünü
Bbm       Fm
Hırçın rüzgarlar 
   F#           C#
Okşar yaban gülünü

Bbm      Fm      
Seyreder alem     
F#           C#
Yanağında gökyüzünü
Bbm       Fm
Hırçın rüzgarlar 
   F#           G#  Fm 
Okşar yaban gülünü
           F#  D#m     C#    G#
Döner yüzünü   hayallere

End of song Play again?

Pilli Bebek - Çoğu Zaman Tabs

NotesX

Harmony analysis

Pilli Bebek – Çoğu Zaman: key and chord analysis

The song opens on C#m and ends on G#. Its chords belong to both E major and C#m, so every chord below is read both ways.

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)

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 opens on C#m, C#m is heard 8 times against 5 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.

Seen from E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	5×
bii	Fm	Chromatic colour chordoutside the key	F · Ab · C	5×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	3×
V/V	F#	Secondary dominant V/V — leads to Bsecondary dominant	F# · A# · C#	7×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	—
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	8×
IV	A	Subdominant — moves away from home	A · C# · E	5×
#iv	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	4×
V	B	Dominant — strongest pull home	B · D# · F#	4×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	8×
V/ii	C#	Secondary dominant V/ii — leads to F#msecondary dominant	C# · E# · G#	9×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—
vii	D#m	Chromatic colour chordoutside the key	D# · F# · A#	3×
V/iii	Eb	Secondary dominant V/iii — leads to G#msecondary dominant	Eb · G · Bb	2×

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	8×
V/iv	C#	Secondary dominant V/iv — leads to F#msecondary dominant	C# · E# · G#	9×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
ii	D#m	Chromatic colour chordoutside the key	D# · F# · A#	3×
V/v	Eb	Secondary dominant V/v — leads to G#msecondary dominant	Eb · G · Bb	2×
III	E	Relative major — the bright side	E · G# · B	5×
#iii	Fm	Chromatic colour chordoutside the key	F · Ab · C	5×
iv	F#m	Subdominant — moves away from home	F# · A · C#	3×
IV	F#	Major IV — Dorian / melodic-minor colourmodal colour	F# · A# · C#	7×
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#	8×
VI	A	Submediant — warm colour	A · C# · E	5×
#vi	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	4×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	4×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 12 different chords appear 63 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 G# is V/vi, a secondary dominant heading for C#m. C#, F#, Eb act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×3
B E EV → Iauthentic cadence C#mVII → III ×3
A C#m EIV → vi C#mVI → iVI → i ×2
F#m G# Eii → V/vi C#miv → Viv → V ×1

The move to watch is G# → C#m, heard 3 times. From the C#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the E side it reads V/vi → 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 C#, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over G#, land on G#, B#, D# — the chord's own tones always sound right on strong beats.
When G# 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
1 semitone up

The song's harmonic story

The opening C#m lays a solid floor for everything that follows. The backbone is C#, C#m, G#, F# — V/ii–vi–V/vi–V/V from the E side, V/iv–i–V–IV from the C#m side. C# is the interesting twist: in E it is a chromatic chord (V/ii), while in C#m it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on G# → C#m (V/vi → vi in E, V → i in C#m): harmonic-minor cadence — the major V resolves dramatically. Ending on G#, 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.