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)
Kubilay Karça - Zifir Kara - Chord
Key E major – C# minor Chords Amaj7, Abm, B, C#m, A Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
Amaj7 Abm Amaj7
Kırıldı döküldü bu kalbim onu da adam sanardım
Abm Amaj7
Bu sensiz akşamlar güz gibiydi kışa çalardı
Abm Amaj7
Düşkün halimi görenlerde deli sanardı
Abm
Farkında değildim lakin sen bana zarardın
Amaj7 Abm
Güneşim doğmaz gece zifir kara
Amaj7 Abm
İçeriz tabi güzeliz içimiz yara
Amaj7 Abm
Düşüne düşüne yine düşeriz dara
Amaj7 Abm
Offff nasıl bir yol bulunmaz
C#m B
Kırıla döküle, üzüle üzüle
A
Bikaç cümle kurdum evet
B
Aldırış etme sözüme
C#m B
Hıçkıra hıçkıra ağlayan ben oldum hep
A B
Bakmadılar inanki hiç gözümün seline
End of song Play again?
Kubilay Karça - Zifir Kara Tabs
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Harmony analysis
Kubilay Karça – Zifir Kara: key and chord analysis
The song opens on Amaj7 and ends on B. 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 C#m is heard 2 times while E never appears. 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 |
|---|---|---|---|---|
| I | E | Tonic — home | E · G# · B | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| iii | Abm | Mediant — a tonic-family shade | Ab · Cb · Eb | 8× |
| 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# | 8× |
| IV | A | Subdominant — moves away from home | A · C# · E | 2× |
| V | B | Dominant — strongest pull home | B · D# · F# | 4× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 2× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 2× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | — |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| v | Abm | Minor dominant — soft pull | Ab · Cb · Eb | 8× |
| 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# | 8× |
| VI | A | Submediant — warm colour | A · C# · E | 2× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 4× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 24 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
- A B EIV → VIV → V C#mVI → VIIVI → VII ×2
- B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×1
- Abm C#m Eiii → vi C#mv → inatural-minor cadence ×1
The move to watch is A → B, heard 2 times. From the C#m side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the E side it reads IV → V (IV → V: the lift that builds tension before home). 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 Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- Over B, 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 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
The first chord is Amaj7; the ear learns where home is within a second. The chords that keep coming back are Amaj7, Abm, B, C#m; read them as IVmaj7–iii–V–vi in E or VImaj7–v–VII–i in C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → B (IV → V in E, VI → VII in C#m): VI → VII — the rising step that heads for the tonic. Ending on B, the song seals E 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.
Kubilay Karça - Zifir Kara 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: Kubilay KarçaMusic: Kubilay KarçaArrangement: Abdurrahman Şimşek
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