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)
Fourtwnty - Zona Nyaman - Chord
Key E major – C# minor Chords A, E, B, G#m, C#, F#m, C#m, E7 Easy key G
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Key: E | Dbm | C#m
Capo: 0
E A E A E A E Pagi ke pagi ku terjebak di dalam ambisi E A F#m Seperti orang orang berdasi yang gila materi A F#m E C# Rasa bosan membukakan jalan mencari peran A B E Keluarlah dari zona nyaman A B G#m C# C#m Sembilu yang dulu biarlah berlalu A B E E7 Bekerja bersama hati, kita ini insan bukan seekor sapi A B G#m C# Sembilu yang dulu biarlah membiru A B E Berkarya bersama hati E A E Waktu ke waktu perlahan ku rakit egoku E A F#m Merangkul orang orang yang mulai sejiwa denganku A F#m E C# Ke BM an membukakan jalan mencari teman A B E Bergeraklah dari zona nyaman A B G#m C# C#m Sembilu yang dulu biarlah berlalu A B Bekerja bersama hati E E7 kita ini insan bukan seekor sapi A B G#m C# C#m Sembilu yang dulu biarlah membiru A B E Berkarya bersama hati C#m B G#m Diam dan mati, milik dia yang tak bisa berdiri, berdiri C#m B G#m Diam dan mati, milik dia yang tak bisa berdiri, G#m berdiri di kakinya sendiri A B G#m C# Sembilu yang dulu biarlah berlalu A B E E7 Bekerja bersama hati, kita ini insan bukan seekor sapi A B G#m C# Sembilu yang dulu biarlah membiru A B G#m C# Sembilu yang dulu biarlah membiru A B E Berkarya bersama hati, kita ini insan bukan seekor sapi A B G#m C# Tanamkan pesanku agar tak keliru A B Bekerja bersama hati E A E A E A E F#m
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Fourtwnty - Zona Nyaman Tabs
NotesX
Harmony analysis
Fourtwnty – Zona Nyaman: key and chord analysis
The song opens on E and ends on F#m. 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 E major side because it opens on E and E is heard 25 times against 5 for C#m. That is an interpretation, not a rule — hearing the same chords from C# minor is just as valid and teaches you something different.
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 | 22× |
| V7/IV | E7 | Secondary dominant V/IV — leads to Asecondary dominant | E · G# · B · D | 3× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 5× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 11× |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | 28× |
| V | B | Dominant — strongest pull home | B · D# · F# | 19× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 5× |
| V/ii | C# | Secondary dominant V/ii — leads to F#msecondary dominant | C# · E# · G# | 10× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 5× |
| V/iv | C# | Secondary dominant V/iv — leads to F#msecondary dominant | C# · E# · G# | 10× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 22× |
| V7/VI | E7 | Secondary dominant V/VI — leads to Asecondary dominant | E · G# · B · D | 3× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 5× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 11× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 28× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 19× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 8 different chords appear 103 times in total; 6 of them sit naturally inside the shared scale. C#, E7 act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- A B EIV → VIV → V C#mVI → VIIVI → VII ×17
- B E EV → Iauthentic cadence C#mVII → III ×9
- A E EIV → Iplagal cadence C#mVI → III ×7
- E7 A EV7/IV → IVsecondary resolution C#mV7/VI → VI ×3
- G#m C#m Eiii → vi C#mv → inatural-minor cadence ×1
The move to watch is A → B, heard 17 times. From the E side it reads IV → V (IV → V: the lift that builds tension before home); from the C#m side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — 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
- 3 semitones up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on E, the song gives away its key from the very first bar. A, E, B, G#m carry the song: IV–I–V–iii relative to E, VI–III–VII–v relative to C#m. C# adds a moment of surprise: secondary dominant V/ii — leads to F#m. Keep an ear on A → B (IV → V in E, VI → VII in C#m): IV → V — the lift that builds tension before home. It closes on F#m, letting the E 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.
Fourtwnty - Zona Nyaman 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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