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)
Ayça Özefe - Bir daha-Zombie (Ezhel-ufo361) - Chord
Key C major – A minor Chords G, Am, Bm, F Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am G F G
Am
Bir daha dönemem geriye
G F
Bir daha aksini edebilirsin iddia
Başa saralım
G
Hadi her şeyi en baştan yaşayalım
Am
Vurur ziganam seni geçeriz zaman gibi
F
Yazık ziyan ömrüme, Berlin, Angara stili Rollie
Am
Audemars Pigo alır agalar şimdi
G
Eskiden bi' tane sakız bile alamazdım ki
Am
Her yer Polizei, gelir sorular, gelir on üç ay
F
Doldur çay içerim, beyaz rakım dolunay
Am
Sorular bile olsa daha girer yoluna
G
Kulağımda Killa, Eko Fresh, her şey yolunda
Am
Yorulmam, yoruldum çok bugüne dek
F
Üzülerek geçemez hayat düşünerek
Am
Üşürüz hep yaz olsa bile kışı sevek
G
Kimseyi satamadım, olamam bi
Am
Var Ufo yanımda alayınız meze
F
Sar puro kağıdına yaşayalım neşe
Am
Harcırah harcanır bütün kardeşlere
G
Saldırak gördüğümüz bütün kalleşlere
Am
Bir daha dönemem geriye
G F
Bir daha aksini edebilirsin iddia
Başa saralım
G
Hadi her şeyi en baştan yaşayalım
Şarkının tonu burdan sonra Bm-D
Ja, ich fühl' mich ein Zombie, ja, ey
Bm
Geceler olur günaydın
G
In my head, in my head they are fighting
Bm
Başka çarem yoktu söyle ne yapaydım
G
İnsanlar yaptı beni kalpsiz bi hayvan
Bm
Zombie gel beni sokaklara sor bi
G
Açken daha yokken daha parlamazken
Bm
Sol bileğimdeki Rollie Rollie Rollie
G
Gardaşlar der oley atarız her bi golü
Bm
Kızılay to Kotti
Kayboldum hokus pokus ya
G
Uzaydayız yokuz
Los Turcos locos
Bm
Benim gibi zombielerle doluydu tüm mapus
G
Makus talihler biter aşılır her bir yokuş
Bm
Hayal kurardım eskiden beri
G
...kabım yoktu yakıp geçtik her yeri
Bm
Koal Koal Koal serbest stilimiz serseri
G
Beni rapçiler tanır yeşil tenimden
End of song Play again?
Ayça Özefe - Bir daha-Zombie (Ezhel-ufo361) Tabs
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Harmony analysis
Ayça Özefe – Bir daha-Zombie (Ezhel-ufo361): key and chord analysis
The song opens on Am and ends on G. 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 it opens on Am and Am is heard 11 times while C never appears. 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 | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 7× |
| V | G | Dominant — strongest pull home | G · B · D | 18× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 11× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 8× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 11× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| ii | Bm | Chromatic colour chordoutside the key | B · D · F# | 8× |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 7× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 18× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 44 times in total; 3 of them sit naturally inside the shared scale. Bm step outside the scale as colour chords.
Chord movement
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×6
- F Am CIV → vi AmVI → iVI → i ×4
- F G CIV → VIV → V AmVI → VIIVI → VII ×3
The move to watch is G → Am, heard 6 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Bm, 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 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
- 5 semitones down · capo 5 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Am, the song gives away its key from the very first bar. The chords that keep coming back are G, Am, Bm, F; read them as V–vi–vii–IV in C or VII–i–ii–VI in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. Ending on G, 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.
Ayça Özefe - Bir daha-Zombie (Ezhel-ufo361) 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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