Büşra Kartal - Ziyan Oldum - Chord

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

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Capo 0

C#m  D  Bm  C#m

C#m
Çok dağıldım bu gece
            D
Dayanamadım başkasıyla görünce
      Bm
Tüm duvarlar üzerimde
     C#m
Sanki sözlerinde

C#m
Çok dağıldım bu gece
          D
Gözlerini gözlerinde görünce
      Bm
Nasıl avunsun şimdi kalbim
     C#m
Bana bir yol söyle

     C#m
Beni mahveden geceler hep nefes
        D
Sana bu derdinin çözümü tek kurşun
Bm
Deştiğin yarayı açma bir daha
   C#m
Bu sözlerin bana veda olsun

     C#m
Sana geldiğim geceler hep ziyan zebil
D
Gördüğümde bana ders olsun
Bm
Sarmayı denediğim her yara kanıyor
   C#m
Bu yaralar mezarım olsun

      F#m
Sende kaybedip yanacaksın
           C#m
Her geleni derdine saracaksın, yok çaren
D
Avunurum sanacaksın
          C#m
Olmayacak kendine kanacaksın

  F#m
Resimlere dalacaksın 
         C
Gözlerin dolacak, donacaksın yok çaren
D
Belki de kanacaksın
         C#m
Kalbimde bir ömür yanacaksın

End of song Play again?

Büşra Kartal - Ziyan Oldum Tabs

NotesX

Harmony analysis

Büşra Kartal – Ziyan Oldum: key and chord analysis

The song opens on C#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 F#m is heard 2 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#	5×
bIII	C	Borrowed from the parallel minorborrowed chord	C · E · G	1×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	13×
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	7×
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	2×
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#	2×
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#	5×
#IV	C	Chromatic colour chordoutside the key	C · E · G	1×
v	C#m	Minor dominant — soft pull	C# · E · G#	13×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	7×
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). 5 different chords appear 28 times in total; 4 of them sit naturally inside the shared scale. C is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C#m F#m Aiii → vi F#mv → inatural-minor cadence ×2

The move to watch is C#m → F#m, heard 2 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 D, land on D, F#, A — 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.
On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.

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
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on C#m, the song gives away its key from the very first bar. The chords that keep coming back are C#m, D, Bm, F#m; read them as iii–IV–ii–vi in A or v–VI–iv–i in F#m. C briefly darkens the picture: borrowed from the parallel minor. 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.

Büşra Kartal - Ziyan Oldum 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: Kerim Araz

Music: Kerim Araz

Arrangement: Can Demir

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