Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Zeynep Bastık - Sorma - Chord
Key C major – A minor Chords F, Dm7, Em7, Am, Am7, E Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Dm7 F Dm7 Am
na.. na.. na.. na.. na..
F Em7
Gemi yakıldı dönüş ümidi hayal oldu
F Em7
Zaman daraldı kalbimin anlamı yazık oldu
F Em7
Yeri dolmadı gelen olmadı olamaz ki
F Em7
Nefes almadan o sesi duymadan yapamam ki
Dm7 Em7 Am7
Vücut iklimimin kimyası
Dm7 Em7 Am7
Dünyayı ters yüz eden kadın
Dm7 Em7 Am7
Hayatımın manası
F Dm7 E
Bende gizli bende saklı
F Am
Sorma kim diye sorma
F Am
O sensin bir daha sorma
Am Dm7 F Dm7 Am
na.. na.. na.. na.. na..
F = x ---|---|---
-o-|---|---
---|-o-|---
---|---|-o-
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x ---|---|---
1 2 3
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Zeynep Bastık - Sorma Tabs
NotesX
Harmony analysis
Zeynep Bastık – Sorma: key and chord analysis
The song opens on Am and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (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 A minor side because it both starts and finishes on Am, Am is heard 9 times while C never appears and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 8× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 7× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 1× |
| IV | F | Subdominant — moves away from home | F · A · C | 9× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 6× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 3× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 6× |
| i7 | Am7 | Tonic — home | A · C · E · G | 3× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 8× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 7× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 1× |
| VI | F | Submediant — warm colour | F · A · C | 9× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 34 times in total; 5 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am.
Chord movement
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×3
- Dm7 Am Cii7 → vi Amiv7 → iminor plagal ×2
- F Am CIV → vi AmVI → iVI → i ×2
- Dm7 E Cii7 → V/vi Amiv7 → Viv → V ×1
The move to watch is Em7 → Am7, heard 3 times. From the Am side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- When E comes, swap the scale's G 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Am lays a solid floor for everything that follows. The chords that keep coming back are F, Dm7, Em7, Am; read them as IV–ii7–iii7–vi in C or VI–iv7–v7–i in Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Em7 → Am7 (iii7 → vi7 in C, v7 → i7 in Am): natural-minor cadence — gentle, modal arrival. Ending on Am, the song seals Am 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 - Sorma 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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