Burcu Güneş - Ufo - Chord

Key E major – C# minor Chords C#m, A, B, G#m, F#m, G# Easy key G

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Capo 0

C#m  C#m  A  B

C#m                      A          B
Atlamadan önce durup denizin dibine bakılmaz mı
C#m                      A  B
Dibe çakılır mıyız hesabı
C#m
Ya akarsın bu hızla
         A            B
Ya akmaz durursun bir kenarda
C#m                        A         B
Yüksek voltaj çarpılırsın aman dikkat

A     B    G#m   C#m
Yıldızlar ışıldarken 
  A      B       G#m C#m
Dilek tuttum ben içimden
  A   B     G#m     C#m
Hayatımın aşkı hadi gel
    A   B    G#m    A    G#
Bir mucize olsun lütfeeeen

C#m
Havadan karadan damdan bacadan
A           F#m
Ufo gibi iniyorsun uzaydan
C#m
Bu işleri öyle kolay mı sandın
B
Hadi canım yandan

C#m
Havalı da havalı görünsen köşeden
A           F#m
Bu neyin kafası anlamadım ben
C#m
Sıkıldım hadi çal başka bir telden
B
Sana olmaz benden

C#m                      A            B
Atlamadan önce durup denizin dibine bakılmaz mı
C#m                      A  B
Dibe çakılır mıyız hesabı 
C#m
Ya akarsın bu hızla 
         A            B
Ya akmaz durursun bir kenarda
C#m                        A         B
Yüksek voltaj çarpılırsın aman dikkat

A     B    G#m   C#m
Yıldızlar ışıldarken 
  A      B       G#m C#m
Dilek tuttum ben içimden
  A   B     G#m     C#m
Hayatımın aşkı hadi gel
    A   B    G#m    A    G#
Bir mucize olsun lütfeeeen

C#m
Havadan karadan damdan bacadan
A           F#m
Ufo gibi iniyorsun uzaydan 
C#m
Bu işleri öyle kolay mı sandın
B             C#m
Hadi canım yandan

C#m
Havalı da havalı görünsen köşeden
A           F#m
Bu neyin kafası anlamadım ben
C#m
Sıkıldım hadi çal başka bir telden
B             C#m
Sana olmaz benden

C#m  C#m  A  F#m
C#m  C#m  B  C#m

End of song Play again?

Burcu Güneş - Ufo Tabs

NotesX

Harmony analysis

Burcu Güneş – Ufo: key and chord analysis

The song opens on C#m and ends on C#m. 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 both starts and finishes on C#m, C#m is heard 31 times while E never appears 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	—
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	5×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	8×
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	2×
IV	A	Subdominant — moves away from home	A · C# · E	24×
V	B	Dominant — strongest pull home	B · D# · F#	22×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	31×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	31×
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#	5×
v	G#m	Minor dominant — soft pull	G# · B · D#	8×
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	2×
VI	A	Submediant — warm colour	A · C# · E	24×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	22×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 92 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.

Chord movement

A B EIV → VIV → V C#mVI → VIIVI → VII ×17
B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×12
G#m C#m Eiii → vi C#mv → inatural-minor cadence ×6
F#m C#m Eii → vi C#miv → iminor plagal ×5
G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×2

The move to watch is A → B, heard 17 times. From the C#m side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the E side it reads IV → V (IV → V: the lift that builds tension before home). 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#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.
Over B, land on B, D#, F# — 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

3 semitones up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

Starting on C#m, the song gives away its key from the very first bar. The chords that keep coming back are C#m, A, B, G#m; read them as vi–IV–V–iii in E or i–VI–VII–v in C#m. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → B (IV → V in E, VI → VII in C#m): VI → VII — the rising step that heads for the tonic. The final chord is C#m; the ear comes to rest in C#m.

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.