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)
Ceza - Neyim Var ki (Sagopa Kajmer) - Chord
Key E major – C# minor Chords F#m, C#m, A, B Easy key G
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Key: E | Dbm | C#m
Capo: 0
C#m C#m F#m F#m B F#m A A C#m F#m Bir bahçemiz var, bir taraf çiçekli, bir tarafsa çöl Bir tarafta Gökkuşağı, öbür tarafsa kör B F#m A Sınırda kalmışlardanız biz, hep sınıfta kalmışlardan çok uzaktayız Sıkıntı çekmişlere yakın bir yerde Çölde kazanılan zaferler hepsi kanla yazılır Ahmak olmasaydın insan, tüm zaferler dostça kazanılırdı Her gün doğumundan gün batımına Her geceden gündüze işlenen bir suç var her bi' yerde bahçemiz var Cümle derde ol deva diye dua ederdi Günde bin defa, fayda yok, bu çok fena, çare yok Bu bir bela, sanki yoktu başta Hepsi kalsın aleminde Sagopa ve Ceza, Rap için bir pranga İlham perilerim, yorgun ellerim Ve miskin armağan düşüncemin yanında bir emanetim bu bedene zor Yıllarım bir yetki verdi, etki tepki oldu Kendimin hudutlarında bir çiçektim, mordum Onca tarla doldum Bir şafaktım askerin duvarda yırttığı Bir takvim yaprağında geri kalan umut, rakamlar oldum İstediğim yerdeyim Bir iki dak ka verin bu adama, konuşamaz dilim tutuldu C#m Fincan kahvem hatrına saydım F#m Bir yudumluk aşkın deli sarhoş B F#m Komplo orduların gardiyanların A Neyim var ki rapten gayrı Akarsular bu bahçelerde kurtulur zebanilerden Akmayan suyu bile çölde, çeşmeler var her bi' yerde, bul Olmaya çalış bi' kul, istediğimiz yekti sulh Olmasın altında çul, olmasın paran ve pul Gene de gül bir kez, be bi' kere gül ve senede bir de olsa Gül bu çölde yeşerir elbet Savaş biter ve biz de sınırın ortasında kaybolur Gider de sözlerimizi ve rap'imizi miras bırakırız yeter Ey, rap'in sebepsiz anlamı, damarlarımda gezine dur Şakaklarımda kan birikmiş ben bi' cümlelik bi' nokta değilim Şiirlerimle gömülecek adım satırlarımda geçmişin tokat izleri (Anlat!) Ellerimde kara kalem, kara gözüm seyirde Yollarımda yolunu gözlediğim bi' yolcum, mağlubum Yaradan Allah'ım, gençliğime mahcubum Oyuncak bir tabanca elime hakim oldu, çok alıştım Ben bugünde yaşıyorum, yarın da meçhulüm Bin yasak ve bin cezayla ilelebet mi yaşıyorum Bir bal olsam, damlasam Bu yeryüzünde bir kalbim, nefretim ve var olan bin cezam
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Ceza - Neyim Var ki (Sagopa Kajmer) Tabs
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Harmony analysis
Ceza – Neyim Var ki (Sagopa Kajmer): key and chord analysis
The song opens on C#m 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: to us the song feels closer to the C# minor side because it opens on C#m and C#m is heard 4 times while E never appears. 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 | — |
| ii | F#m | Supertonic — prepares the 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# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | 4× |
| V | B | Dominant — strongest pull home | B · D# · F# | 3× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 4× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 4× |
| 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# | 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# | — |
| VI | A | Submediant — warm colour | A · C# · E | 4× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 3× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 18 times in total; 4 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
- F#m B Eii → Vii → V C#miv → VII ×3
- A C#m EIV → vi C#mVI → iVI → i ×2
The move to watch is F#m → B, heard 3 times. From the C#m side it is iv → VII; from the E side it reads ii → V (ii → V: the classic preparation of the dominant). 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 F#m, land on F#, A, C# — 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 A, land on A, C#, E — 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
Starting on C#m, the song gives away its key from the very first bar. F#m, C#m, A, B carry the song: ii–vi–IV–V relative to E, iv–i–VI–VII relative to C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m → B (ii → V in E, iv → VII in C#m): ii → V — the classic preparation of the dominant. 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.
Ceza - Neyim Var ki (Sagopa Kajmer) 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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