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)
Jehan Barbur - Kendine Zaman Ver (Sinan Kaynakçı) - Chord
Key E major – C# minor Chords B, A, C#m, E, F# Easy key G
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Key: E | Dbm | C#m
Capo: 0
C#m B A B Biraz uzaklaşınca, anlaşılır eksikler A B A B Biraz yakınlaşınca, görülür fazlalıklar C#m B A B Uzun süre koşunca, unutulur boşluklar A B A B Bir an bile durunca, hatırlanır yokluklar C#m F# B Bir durup dinlenme zamanı bu yaz C#m F# C#m B Oturup düşünme anları bu sabaaah C#m F# B Süzülen uçurtma günleri gökyüzü C#m F# C#m B Serilip yok olma mevsimi bu örtüüüü C#m A E B Aşık olmak lazım bir bilene C#m A E B Anlatmak lazım sonsuz dehlizlere C#m A E B Aşık olmak lazım bir güzele C#m A E B A Yıpranmak lazım hayat bu öğrenmekleee E B A B Bir düşün kendinle nerede en son E B A B Yürüdün içinde huzurun şehrinde
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Jehan Barbur - Kendine Zaman Ver (Sinan Kaynakçı) Tabs
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Harmony analysis
Jehan Barbur – Kendine Zaman Ver (Sinan Kaynakçı): key and chord analysis
The song opens on C#m and ends on B. 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 it opens on C#m and C#m is heard 12 times against 6 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 | 6× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| V/V | F# | Secondary dominant V/V — leads to Bsecondary dominant | F# · A# · C# | 4× |
| 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# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | 13× |
| V | B | Dominant — strongest pull home | B · D# · F# | 20× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 12× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 12× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 6× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| IV | F# | Major IV — Dorian / melodic-minor colourmodal colour | F# · A# · C# | 4× |
| 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 | 13× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 20× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 55 times in total; 4 of them sit naturally inside the shared scale. F# acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×9
- A B EIV → VIV → V C#mVI → VIIVI → VII ×8
- A E EIV → Iplagal cadence C#mVI → III ×5
- B E EV → Iauthentic cadence C#mVII → III ×1
The move to watch is B → C#m, heard 9 times. From the C#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the E side it reads V → vi (deceptive cadence: expected E, lands on C#m). 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 B, land on B, 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 C#m, land on C#, E, G# — 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening C#m lays a solid floor for everything that follows. The chords that keep coming back are B, A, C#m, E; read them as V–IV–vi–I in E or VII–VI–i–III in C#m. F# adds a moment of surprise: secondary dominant V/V — leads to B. Keep an ear on B → C#m (V → vi in E, VII → i in C#m): Aeolian arrival — rises a whole tone into home. The final chord is B; 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.
Jehan Barbur - Kendine Zaman Ver (Sinan Kaynakçı) 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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