Zara - Eski Libas Gibi - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

F#m             C#m
 Eski libas gibi aşıkın gönlü
F#m               C#m
 Söküldükten sonra dikilmez imiş
F#m              C#m
 Güzel sever isen gerdanı benli
 
C#m                         F#m
 Her güzelin kahrı çekilmez imiş
          C#m            F#m
 Çekilmez imiş, çekilmez imiş
          C#m 
 Çekilmez imiş

F#m              C#m
 Seyrani'nin gözü gamla yaş imiş
F#m                 C#m
 Benim derdim her dertlere baş imiş
F#m                C#m
 Ben gönlümü toprak sandım taş imiş
 
C#m                       F#m
 Meğer taşa tohum ekilmez imiş
         C#m           F#m
 Ekilmez imiş, ekilmez imiş
         C#m 
 Ekilmez imiş
 
F#m               C#m
 Sevdiğim değildin böylece ezel
F#m            C#m
 Aşkımın bağına düşürdün gazel
F#m              C#m
 İbrişimden nazik sandığım güzel

C#m                        F#m
 Meğer pulat gibi bükülmez imiş
          C#m            F#m
 Bükülmez imiş, bükülmez imiş
          C#m 
 Bükülmez imiş

End of song Play again?

Zara - Eski Libas Gibi Tabs

NotesX

Harmony analysis

Zara – Eski Libas Gibi: key and chord analysis

The song opens on F#m and ends on C#m. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F# minor side because it opens on F#m and F#m is heard 15 times while A never appears. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	18×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	—
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	15×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	15×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
iv	Bm	Subdominant — moves away from home	B · D · F#	—
v	C#m	Minor dominant — soft pull	C# · E · G#	18×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	—
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 2 different chords appear 33 times in total; 2 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

C#m F#m Aiii → vi F#mv → inatural-minor cadence ×14

The move to watch is C#m → F#m, heard 14 times. From the F#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the A side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over C#m, land on C#, E, G# — 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.

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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The first chord is F#m; the ear learns where home is within a second. The chords that keep coming back are C#m, F#m; read them as iii–vi in A or v–i in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. It closes on C#m, letting the A 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.