Major view
B major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A# (leading tone, pulls home)
- 4 = E (the note that leans on the 3rd)
Zeynep Bastık - Uzaktan - Chord
Key B major – G# minor Chords G#m, C#m, D#7, Emaj7, F#, E, D#sus4 Easy key C
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Key: B | Abm | G#m
Capo: 0
C#m G#m Emaj7 D#sus4 D#7
G#m
Neden kaçtın neden
Emaj7
Mesut olurduk belki
G#m
Korkuttum mu seni
Emaj7
Benden ne zarar gelir ki
C#m G#m
Seni seyretmem gezmem lazımdı
F# D#7 G#m
Bu yolun sonunu bulmam lazımdı
C#m G#m
Seni tanımam bilmem lazımdı
F# D#7 G#m
Bu hikayeye bir son lazımdı
C#m G#m
Öyle uzaktan uzaktan hiç konuşmadan
E D#7 G#m
Nasıl da bağladın beni
C#m
Hani bi geldin bi kayboldun
G#m E D#7 G#m
Esrarlı mağrurdun, aklıma sardım seni
G#m
Nedir sırrın ne senin
Emaj7
Çekip bıraktım sen kimsin
G#m
Toz ol derdim bitsin
Emaj7
Aklım aşkını yensin
C#m G#m
Seni seyretmem gezmem lazımdı
F# D#7 G#m
Bu yolun sonunu bulmam lazımdı
C#m G#m
Seni tanımam bilmem lazımdı
F# D#7 G#m
Dudaklarıma bir veda lazımdı
C#m G#m
Öyle uzaktan uzaktan hiç konuşmadan
Emaj7 D#7 G#m
Nasıl da bağladın beni
C#m
Hani bi geldin bi kayboldun
G#m Emaj7 D#7 G#m
Esrarlı mağrurdun, aklıma sardım seni
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Zeynep Bastık - Uzaktan Tabs
NotesX
Harmony analysis
Zeynep Bastık – Uzaktan: key and chord analysis
The song opens on C#m and ends on G#m. Its chords belong to both B major and G#m, so every chord below is read both ways.
Minor view
G# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = E (the minor's melancholy)
- b7 = F# (natural-minor colour)
- #7 = G (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 G# minor side because it comes to rest on G#m, G#m is heard 21 times while B never appears and the major V chord points straight at G#m. That is an interpretation, not a rule — the same chords are just as valid seen from B 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 B or to G#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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | — |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | 9× |
| IIIsus4 | D#sus4 | Mediant — a tonic-family shade | D# · G# · A# | 1× |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| V7/vi | D#7 | Secondary dominant V/vi — leads to G#msecondary dominant | D# · G · A# · C# | 9× |
| IVmaj7 | Emaj7 | Subdominant — moves away from home | E · G# · B · D# | 7× |
| IV | E | Subdominant — moves away from home | E · G# · B | 2× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 4× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 21× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 21× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | — |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | 9× |
| Vsus4 | D#sus4 | Minor dominant — soft pull | D# · G# · A# | 1× |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | — |
| V7 | D#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# · C# | 9× |
| VImaj7 | Emaj7 | Submediant — warm colour | E · G# · B · D# | 7× |
| VI | E | Submediant — warm colour | E · G# · B | 2× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 4× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 7 different chords appear 53 times in total; 6 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same D#7 is V7/vi, a secondary dominant heading for G#m.
Chord movement
- D#7 G#m BV7/vi → visecondary resolution G#mV7 → iharmonic-minor cadence ×9
- C#m G#m Bii → vi G#miv → iminor plagal ×9
- Emaj7 G#m BIVmaj7 → vi G#mVImaj7 → iVI → i ×2
The move to watch is D#7 → G#m, heard 9 times. From the G#m side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the B side it reads V7/vi → vi (secondary resolution: D#7 resolves a fourth up to G#m). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
- Over G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over D#7, land on D#, G, A# — the chord's own tones always sound right on strong beats.
- When D#sus4 comes, swap the scale's F# for G: 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 B major shapes
- Capo 2 + A shapes
- Capo 4 + G shapes
- Capo 7 + E shapes
With G# minor shapes
- Capo 4 + Em shapes
- Capo 6 + Dm shapes
Easiest keys on guitar
- 1 semitone up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The first chord is C#m; the ear learns where home is within a second. The backbone is G#m, C#m, D#7, Emaj7 — vi–ii–V7/vi–IVmaj7 from the B side, i–iv–V7–VImaj7 from the G#m side. D#7 is the interesting twist: in B it is a chromatic chord (V7/vi), while in G#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D#7 → G#m (V7/vi → vi in B, V7 → i in G#m): harmonic-minor cadence — the major V resolves dramatically. It closes on G#m, letting the G#m 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.
Zeynep Bastık - Uzaktan 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: GökselMusic: Göksel
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