Sıla - Zor Sevdigimden - Chord

Key Eb major – C minor Chords G#m, A, F#m, C#m, Em Easy key B (capo 4)

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Capo 0

G#m
Niye gidemiyorum biliyor musun? 
A
Çünkü emek verdiysen zor
F#m
Meydan okuma öyle hemen 
A              G#m
Dur, neden diye sor

G#m
Niye susuyorum anlıyor musun? 
A
Çünkü anlattıkça zor 
F#m
Bükme dudağını hemen 
         A           G#m
Otur o zaman hesabını sor.

C#m          G#m        A        G#m
Çok sevdiğimden değil, zor sevdiğimden. 
               F#m                A   G#m
İyi günde buradasın, dar günde yoksun neden? 

G#m              C#m
Güler ömür, ağlar ömür
Em            C#m       G#m
Farkında olmayız geçer ömür

G#m
Niye susuyorum anlıyor musun? 
A
Çünkü anlattıkça zor
F#m
Bükme dudağını hemen, 
A                 G#m
Otur o zaman hesabını sor

End of song Play again?

Sıla - Zor Sevdigimden Tabs

NotesX

Harmony analysis

Sıla – Zor Sevdigimden: key and chord analysis

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

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between Eb major and C minor. Try reading the chords both ways and see which feels more like home to you.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
bii	Em	Chromatic colour chordoutside the key	E · G · B	1×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
biii	F#m	Chromatic colour chordoutside the key	F# · A · C#	4×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
III	G	Chromatic colour chordoutside the key	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
iv	G#m	Minor iv — borrowed from the parallel minorborrowed chord	G# · B · D#	11×
#IV	A	Chromatic colour chordoutside the key	A · C# · E	8×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	—
bvii	C#m	Chromatic colour chordoutside the key	C# · E · G#	3×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	—
bii	C#m	Chromatic colour chordoutside the key	C# · E · G#	3×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
#iii	Em	Chromatic colour chordoutside the key	E · G · B	1×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
#iv	F#m	Chromatic colour chordoutside the key	F# · A · C#	4×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
vi	G#m	Chromatic colour chordoutside the key	G# · B · D#	11×
#VI	A	Chromatic colour chordoutside the key	A · C# · E	8×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 27 times in total; 0 of them sit naturally inside the shared scale. G#m is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over G#m, land on G#, B, D# — 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
On G#m, follow the chord's notes (G# · B · D#) rather than the key's scale — it's a borrowed colour.

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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

The opening G#m lays a solid floor for everything that follows. The chords that keep coming back are G#m, A, F#m, C#m; read them as iv–#IV–biii–bvii in Eb or vi–#VI–#iv–bii in Cm. G#m briefly darkens the picture: minor iv — borrowed from the parallel minor. It closes on G#m, letting the Eb side have the last word.

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.