Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Müslüm Gürses - Engel Çıktı Aramıza - Chord
Key C major – A minor Chords Em, G, F, Dm, Am, C Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em G F
Ne güzeldi günlerimiz
Dm G
Ayrılmazdı ellerimiz
Em G F
Aşkla çarpan kalplerimiz
Dm G
Ayrı düştü gülüm gülüm
Am F G
Rüzgar vurdu dalımızaa
Em F
Hasret çıktı falımızaa
Dm Em
Ayrılıklar yolumuzaa
G F
Engel çıktı gülüm gülüm
Em
Sensiz gelen güne küsüm
Dm
Sensiz doğan güneş batsın
C
Bu dünyada tek gayemsin
Em
Yalanım yok kanım aksın
Am Am Em G F Dm Em Em
Em G F
Sen bir yerde, ben bir yerde
Dm G
Aşk gülümüz soldu gülüm
Em G F
Kurduğumuz hayaller de
Dm G
Hüsran oldu gülüm gülüm
Am F G
Rüzgar vurdu dalımızaa
Em F
Hasret çıktı falımızaa
Dm Em
Ayrılıklar yolumuzaa
G F
Engel çıktı gülüm gülüm
Em
Sensiz gelen güne küsüm
Dm
Sensiz doğan güneş batsın
C
Bu dünyada tek gayemsin
Em
Yalanım yok kanım aksın
End of song Play again?
Müslüm Gürses - Engel Çıktı Aramıza Tabs
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Harmony analysis
Müslüm Gürses – Engel Çıktı Aramıza: key and chord analysis
The song opens on Em and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because Am is heard 4 times against 2 for C. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | 2× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 9× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 15× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 11× |
| V | G | Dominant — strongest pull home | G · B · D | 13× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 4× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 4× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 2× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 9× |
| v | Em | Minor dominant — soft pull | E · G · B | 15× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 11× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 13× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 54 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
- Dm G Cii → Vii → V Amiv → VII ×4
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
- F G CIV → VIV → V AmVI → VIIVI → VII ×2
- Em Am Ciii → vi Amv → inatural-minor cadence ×1
The move to watch is Dm → G, heard 4 times. From the Am side it is iv → VII; from the C 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
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Em, land on E, G, B — 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.
- Over F, 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. Em, G, F, Dm carry the song: iii–V–IV–ii relative to C, v–VII–VI–iv relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. Ending on Em, the song seals C 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.
Müslüm Gürses - Engel Çıktı Aramıza 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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Lyrics: Ali TekintüreMusic: Mehmet Aslan
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