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)
Evrencan Gündüz - Zordu Aslında - Chord
Key C major – A minor Chords C, F, Em7, Dm7, Am7, Fmaj7, G7, A7 Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am7 C Çok yavaştı zaman Fmaj7 C Biraz hızlandırdım Am7 C Çok uzaktı hasret Fmaj7 C Biraz adım attım Am7 C Benden istediğin senin olmamı Fmaj7 Neyim varsa verdim Am7 C Seni özledim, sana sarıldım Fmaj7 Derdim varsa sildim G7 Fakat C Em7 Zordu aslında seni her gün sevmek Dm7 F Yediğimiz her güzel saniyeyi daha sindirmek C Em7 A7 Zordu aslında seni her gün üzmek Dm7 G7 Üzüldüğümüz her bir saniyeyi el ele geçirmek F C Biraz bekle sevgilim F C Durup biraz düşünelim F C Biraz farket sevgilim F C Oturup güneşi seyredelim C Em7 Zordu aslında seni her gün sevmek Dm7 F Yediğimiz her güzel saniyeyi daha sindirmek C Em7 A7 Zordu aslında seni her gün üzmek Dm7 G7 Üzüldüğümüz her bir saniyeyi el ele geçirmek C Em7 Zordu aslında sana hep bağırmak Dm7 F Dönüp gittiğim her an arkama bakıp, sana uzanmak C Em7 A7 Zordu aslında sana hep katlanmak Dm7 G7 Aşağılandığım her an bir nefes alıp, sana sarılmak F C Biraz bekle sevgilim F C Durup biraz düşünelim F C Biraz farket sevgilim F C Oturup güneşi seyredelim
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Evrencan Gündüz - Zordu Aslında Tabs
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Harmony analysis
Evrencan Gündüz – Zordu Aslında: key and chord analysis
The song opens on Am7 and ends on C. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C major side because it comes to rest on C, it opens on Am and C is heard 20 times against 4 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
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 | 20× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 6× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 6× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 11× |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 4× |
| V7 | G7 | Dominant — strongest pull home | G · B · D · F | 4× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 4× |
| V7/ii | A7 | Secondary dominant V/ii — leads to Dmsecondary dominant | A · C# · E · G | 3× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 4× |
| V7/iv | A7 | Secondary dominant V/iv — leads to Dmsecondary dominant | A · C# · E · G | 3× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 20× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 6× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 6× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 11× |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 4× |
| VII7 | G7 | Subtonic — steps back to the tonic | G · B · D · F | 4× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 58 times in total; 7 of them sit naturally inside the shared scale. A7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F C CIV → Iplagal cadence AmVI → III ×11
- A7 Dm7 CV7/ii → ii7secondary resolution AmV7/iv → iv7 ×3
- Dm7 G7 Cii7 → V7ii → V Amiv7 → VII7 ×3
- G7 C CV7 → Iauthentic cadence AmVII7 → III ×2
- Fmaj7 C CIVmaj7 → Iplagal cadence AmVImaj7 → III ×2
- Fmaj7 Am7 CIVmaj7 → vi7 AmVImaj7 → i7VI → i ×1
The move to watch is F → C, heard 11 times. From the C side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Am side it is VI → III. 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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.
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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Am7, the song gives away its key from the very first bar. C, F, Em7, Dm7 carry the song: I–IV–iii7–ii7 relative to C, III–VI–v7–iv7 relative to Am. A7 adds a moment of surprise: secondary dominant V/ii — leads to Dm. Keep an ear on F → C (IV → I in C, VI → III in Am): plagal cadence — the soft 'amen' ending. Ending on C, the song seals C 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.
Evrencan Gündüz - Zordu Aslında 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: Evrencan GündüzMusic: Evrencan Gündüz
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