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)
Gökşin Derin - Zorunda Benim Sorunda - Chord
Key E major – C# minor Chords C#m, F#m, Amaj7, G7 Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: E | Dbm | C#m
Capo: 0
C#m F#m Amaj7 G7
C#m F#m
Yolunda değil hiç yolunda
Amaj7 G7
Zorunda benim sorunda
C#m F#m
Yolunda değil hiç yolunda
Amaj7 G7
Solumda yaram canım yarımca
C#m
Hiç yolu yok mu
F#m
Yine bana huzur çok mu
Amaj7
Bir yolu varsa
G7
Atlarım yine çıkıp arşa
C#m F#m
Koskoca yoldu koştum sonunda buldum
Amaj7
Ölü bedenime yük oldun
Anıları dondurdun
G7
Yeşeren tüm benleri soldurdun
C#m F#m
Yolunda değil hiç yolunda
Amaj7 G7
Zorunda benim sorunda
C#m F#m
Yolunda değil hiç yolunda
Amaj7 G7
Solumda yaram canım yarımca
C#m
Hiç yolu yok mu
F#m
Geceler getir sonumu
Amaj7 G7
Geceler derin dalıp ararım beni
C#m F#m
Sorunlarım var yaralarımda
Amaj7 G7
Kavgalarım var hayatla mağlubum zamana
C#m F#m
Yolunda değil hiç yolunda
Amaj7 G7
Zorunda benim sorunda
C#m F#m
Yolunda değil hiç yolunda
Amaj7 G7
Solumda yaram canım yarımca
End of song Play again?
Gökşin Derin - Zorunda Benim Sorunda Tabs
NotesX
Harmony analysis
Gökşin Derin – Zorunda Benim Sorunda: key and chord analysis
The song opens on C#m and ends on G7. 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 opens on C#m and C#m is heard 11 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# | 11× |
| bIII7 | G7 | Borrowed from the parallel minorborrowed chord | G · B · D · F | 11× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | — |
| 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# | 11× |
| V | B | Dominant — strongest pull home | B · D# · F# | — |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 11× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 11× |
| 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# | 11× |
| #IV7 | G7 | Chromatic colour chordoutside the key | G · B · D · F | 11× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | — |
| 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# | 11× |
| 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). 4 different chords appear 44 times in total; 3 of them sit naturally inside the shared scale. G7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — 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.
- On G7, follow the chord's notes (G · B · D · F) 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 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
The opening C#m lays a solid floor for everything that follows. The chords that keep coming back are C#m, F#m, Amaj7, G7; read them as vi–ii–IVmaj7–bIII7 in E or i–iv–VImaj7–#IV7 in C#m. G7 briefly darkens the picture: borrowed from the parallel minor. The final chord is G7; the ear comes to rest in E.
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.
Gökşin Derin - Zorunda Benim Sorunda 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.