Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Zeynep Bastık - Ara - Chord
Key Eb major – C minor Chords Fm, Cm, Bb Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Fm Fm Cm Bb
Fm
Yavaş yavaş yakar
Cm Bb
Bırakmıyor ki aşk
Fm
Sensiz kendimden geçtim
Cm Bb
Dalıp uzaklara
Fm
Aşk gidip dönmemek mi
Cm
Böyle özlemek mi
Bb
Yok mu mutlu bir son
Fm
Vurulup ölmemek mi
Cm Bb
Var mı başka bir yol
Fm Cm
Dinmez ki şu hasretin sesi sus dedikçe
Bb Fm
Uçurumdayım gelip tut elimden
Cm Bb
Ya da düş benimle
Fm
Ara ara ara doldu kalbim yara
Cm Bb
Başa sara sara
Fm
Ara ara ara sanki en dipteyim
Cm Bb
Çıkar boğulmadan
Fm
Azalır mı acılar sarılıp anılara
Cm Bb
Yorar ayrılığın yükü geçip üzerimden
Fm
Başa sarıyor, niye
Cm Bb
Yetmiyor yine geceler, sanki unutmuş doğmayı bize güneş
Fm Cm Bb
Anla şu çilemden, geçtim bu bedenden yine seni beklerken
Fm Cm Bb
Çekip gidemez kalp, böyle tükenirken, kırılıp dökülürken
Fm Cm
Dinmez ki şu hasretin sesi sus dedikçe
Bb Fm
Uçurumdayım gelip tut elimden
Cm Bb
Ya da düş benimle
Fm
Ara ara ara doldu kalbim yara
Cm Bb
Başa sara sara
Fm
Ara ara ara sanki en dipteyim
Cm Bb
Çıkar boğulmadan
End of song Play again?
Zeynep Bastık - Ara Tabs
NotesX
Harmony analysis
Zeynep Bastık – Ara: key and chord analysis
The song opens on Fm and ends on Bb. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because Cm is heard 17 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 18× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | — |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 17× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 17× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 17× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 18× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | — |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 17× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 52 times in total; 3 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Fm Cm Ebii → vi Cmiv → iminor plagal ×17
The move to watch is Fm → Cm, heard 17 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, 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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. Fm, Cm, Bb carry the song: ii–vi–V relative to Eb, iv–i–VII relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. It closes on Bb, letting the Eb 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.
Zeynep Bastık - Ara 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: Emrah KarakuyuMusic: Mona NASRADDINE aka MoonArrangement: Mona NASRADDINE aka Moon
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