Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Zeynep Bastık - Eyvah - Chord
Key A major – F# minor Chords C, Gm, A7, Dm, Bb Easy key B
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Key: A | Gbm | F#m
Capo: 0
Dm C
Yanıyorum eyvah, yanıyorum eyvah
Gm A7
Bi sor bana beni ya
Dm C
Rüyamda gördüm, yine aynı sahneyi
Gm A7 Dm
Başucumda kal ve dinle tüm gece bu derdimi
C Gm
Bana yaşattıkların kabus her biri
A7
Sadece beni olduğum gibi sev istedim
Dm C Gm
Sonunu bile bile gidince kalakaldım yok mu başka bi yol
A7 Dm
Masum hislerimle en çok istediğim senden başkası yok
C
En güzel elbisemle yapsak bi vals
Gm
Mesafeler dar, yatakta kan ter
A7
Tutkunun ateşinden
Dm C
Yanıyorum eyvah, yanıyorum eyvah
Gm A7
Bi sor bana beni ya
Dm
Kendimi sana bıraktım, yanımda kal
C
Savaşamam bi’ başıma sen yoksan
Gm
Tanımadan seni oldun bi parçam
A7 Bb
Zamanla nasıl olduk paramparça
Bb C Bb
Aşkı bulmak için kaybettim kendimi öyle dipteyim
C Bb
Her sefer dönüp dolaştım yine ayni yerdeyim
C Gm A7
Tatmışım zehri teninden hâlâ etkisindeyim, etkisindeyim
Dm C
Yanıyorum eyvah, yanıyorum eyvah
Gm A7
Bi sor bana beni ya
End of song Play again?
Zeynep Bastık - Eyvah Tabs
NotesX
Harmony analysis
Zeynep Bastık – Eyvah: key and chord analysis
The song opens on Dm and ends on A7. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A major side because it comes to rest on A and A is heard 9 times while F#m never appears. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to A or to F#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 |
|---|---|---|---|---|
| V7/IV | A7 | Secondary dominant V/IV — leads to Dsecondary dominant | A · C# · E · G | 9× |
| bII | Bb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Bb · D · F | 4× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| bIII | C | Borrowed from the parallel minorborrowed chord | C · E · G | 11× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| iv | Dm | Minor iv — borrowed from the parallel minorborrowed chord | D · F · A | 8× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| bvii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 9× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| bii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 9× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| V7/VI | A7 | Secondary dominant V/VI — leads to Dsecondary dominant | A · C# · E · G | 9× |
| #III | Bb | Chromatic colour chordoutside the key | Bb · D · F | 4× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| #IV | C | Chromatic colour chordoutside the key | C · E · G | 11× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | — |
| vi | Dm | Chromatic colour chordoutside the key | D · F · A | 8× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 41 times in total; 0 of them sit naturally inside the shared scale. A7 acts as a secondary dominant, briefly pointing at another chord of the key. C, Dm, Bb are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- A7 Dm AV7/IV → ivsecondary resolution F#mV7/VI → vi ×7
The move to watch is A7 → Dm, heard 7 times. From the A side it reads V7/IV → iv (secondary resolution: A7 resolves a fourth up to Dm); from the F#m side it is V7/VI → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- On C, follow the chord's notes (C · E · G) 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are C, Gm, A7, Dm; read them as bIII–bvii–V7/IV–iv in A or #IV–bii–V7/VI–vi in F#m. A7 adds a moment of surprise: secondary dominant V/IV — leads to D. Keep an ear on A7 → Dm (V7/IV → iv in A, V7/VI → vi in F#m): secondary resolution — A7 resolves a fourth up to Dm. Ending on A7, the song seals A 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 - Eyvah 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: Gökberk Çırakoğlu, Zeynep BastıkMusic: Gökberk ÇırakoğluArrangement: Gökberk Çırakoğlu
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