Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Zeynep Bastık - Çukur - Chord
Key G major – E minor Chords Am7, Em, Bm7, Cmaj7, D, F#m7b5, G, Am … Easy key C (capo 7)
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Key: G | Em
Capo: 0
Cmaj7
Tenim söver dilim döver
D
Gitmem yine de
Cmaj7
Çıkmazda aklım
Benden ne yarattın
Bm7
Hiç gitme diye
Am7
Büyüler yaptım
Bm7
Görüyorum önümde
Am7
Bitmeyecek sensizliği
Bm7
Ben biliyorum
Am7
Sen asla bilme bensizliği
Em
Alışırsın diyorsun
D Cmaj7
Ben buna hiç alışamam
Em
Ürküyorum diyorsun
D Cmaj7
Beni de anla o zaman
Am7
Çok yalnızım çok
Bm7
Ama asla yalnız kalamam
Am7
Korkma o çukurdan
Em
Seni ben alıcam
Em
Alışırsın diyorsun
D Cmaj7
Ben buna hiç alışamam
Em
Ürküyorum diyorsun
D Cmaj7
Beni de anla o zaman
Am7
Çok yalnızım çok
Bm7
Ama asla yalnız kalamam
Am7
Korkma o çukurdan
Em
Seni ben alıcam
Em F#m7b5 G Am7 Bm7
Em F#m7b5 G Am C Bm7
End of song Play again?
Zeynep Bastık - Çukur Tabs
NotesX
Harmony analysis
Zeynep Bastık – Çukur: key and chord analysis
The song opens on Cmaj7 and ends on Bm7. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because Em is heard 8 times against 2 for G. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | 2× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 8× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 1× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 7× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 6× |
| IV | C | Subdominant — moves away from home | C · E · G | 1× |
| V | D | Dominant — strongest pull home | D · F# · A | 5× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 8× |
| viiø7 | F#m7b5 | Leading-tone chord — tension | F# · A · C · E | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 8× |
| iiø7 | F#m7b5 | Supertonic — prepares the dominant | F# · A · C · E | 2× |
| III | G | Relative major — the bright side | G · B · D | 2× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 8× |
| iv | Am | Subdominant — moves away from home | A · C · E | 1× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 7× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 6× |
| VI | C | Submediant — warm colour | C · E · G | 1× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 5× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 9 different chords appear 40 times in total; 9 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
- Am7 Em Gii7 → vi Emiv7 → iminor plagal ×3
- Cmaj7 Em GIVmaj7 → vi EmVImaj7 → iVI → i ×2
- Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×1
- Bm7 Em Giii7 → vi Emv7 → inatural-minor cadence ×1
The move to watch is Am7 → Em, heard 3 times. From the Em side it is iv7 → i (minor plagal: deep and melancholic); from the G side it reads ii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Cmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Am7, Em, Bm7, Cmaj7; read them as ii7–vi–iii7–IVmaj7 in G or iv7–i–v7–VImaj7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Em (ii7 → vi in G, iv7 → i in Em): minor plagal — deep and melancholic. The final chord is Bm7; the ear comes to rest in G.
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.
Zeynep Bastık - Çukur 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: Zeynep BastıkMusic: Zeynep Bastık
Çağrı TelkıvıranArrangement: Çağrı Telkıvıran
Çağrı TelkıvıranArrangement: Çağrı Telkıvıran
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