Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Zeynep Bastık - Çok mu Zor - Chord
Key E major – C# minor Chords C#m7, Emaj7, Amaj7, G#m7, F#m7 Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
C#m7 C#m7 Emaj7 Emaj7 Amaj7 Amaj7 G#m7 F#m7
C#m7
Tebessümün uzaklarda
Emaj7
Korkarım ki tuzaklarda
Amaj7
Kabuk tutmuş öpülmemiş yaralarda
Oysa uçsuz bucaksız
G#m7
Hayaller hep imkansız
F#m7 C#m7
Giyinmiş zırhını bekliyor arsızını
C#m7
Şur'da ne canım yer tutuyor
Emaj7
Ne de cürümüm ateş yakıyor
Utana sıkıla, öpüle öpüle
Amaj7
Bir metre bir yer tutuyor
G#m7
Sevdan bi kuş misali uçursa yine bizi
F#m7 C#m7
Süzülsek enginlere açıp kanatlarını
C#m7 Emaj7
Yok ki hesabı olsa telaşııı
Amaj7
Geçmedi, bekledi, bitmedi oysa
G#m7
Her yanı makul tatlı belamı
G#m7
Ben severim elbet kimse karışmasın
C#m7 Emaj7
Al beni de bu yalancı bahar gibii
Gün yeni de sevemez mi bizi
Amaj7
Öp bi kere
G#m7 F#m7
Çok da zor istemesi o mükemmel dünyanı
C#m7 Emaj7
Beni de bi yalancı bahar gibii
Gün yeni de sevemez mi bizi
Amaj7
Öp bi kere
G#m7 F#m7 C#m7
Çok mu zor terk etmesi o mükemmel dünyanı
End of song Play again?
Zeynep Bastık - Çok mu Zor Tabs
NotesX
Harmony analysis
Zeynep Bastık – Çok mu Zor: key and chord analysis
The song opens on C#m7 and ends on C#m7. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C# minor side because it both starts and finishes on C#m and C#m is heard 10 times against 7 for E. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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 |
|---|---|---|---|---|
| Imaj7 | Emaj7 | Tonic — home | E · G# · B · D# | 7× |
| ii7 | F#m7 | Supertonic — prepares the dominant | F# · A · C# · E | 5× |
| iii7 | G#m7 | Mediant — a tonic-family shade | G# · B · D# · F# | 7× |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | — |
| IVmaj7 | Amaj7 | Subdominant — moves away from home | A · C# · E · G# | 7× |
| V | B | Dominant — strongest pull home | B · D# · F# | — |
| vi7 | C#m7 | Relative minor — the melancholy side | C# · E · G# · B | 10× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | C#m7 | Tonic — home | C# · E · G# · B | 10× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| IIImaj7 | Emaj7 | Relative major — the bright side | E · G# · B · D# | 7× |
| iv7 | F#m7 | Subdominant — moves away from home | F# · A · C# · E | 5× |
| v7 | G#m7 | Minor dominant — soft pull | G# · B · D# · F# | 7× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VImaj7 | Amaj7 | Submediant — warm colour | A · C# · E · G# | 7× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | — |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 36 times in total; 5 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
- F#m7 C#m7 Eii7 → vi7 C#miv7 → i7minor plagal ×5
- G#m7 C#m7 Eiii7 → vi7 C#mv7 → i7natural-minor cadence ×1
The move to watch is F#m7 → C#m7, heard 5 times. From the C#m side it is iv7 → i7 (minor plagal: deep and melancholic); from the E side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Emaj7, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over Amaj7, land on A, C#, E — 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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 4 semitones down · capo 4 keeps the original pitch
- 3 semitones up
The song's harmonic story
Starting on C#m7, the song gives away its key from the very first bar. The chords that keep coming back are C#m7, Emaj7, Amaj7, G#m7; read them as vi7–Imaj7–IVmaj7–iii7 in E or i7–IIImaj7–VImaj7–v7 in C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m7 → C#m7 (ii7 → vi7 in E, iv7 → i7 in C#m): minor plagal — deep and melancholic. Ending on C#m7, the song seals C#m 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.
Zeynep Bastık - Çok mu Zor 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: Onur ÖzdemirMusic: Onur Özdemir
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