Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Sertab Erener - Zor Kadin - Chord
Key F major – D minor Chords Bb, Dm, C, A, Gm Easy key G
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Key: F | Dm
Capo: 0
Dm Bb C Bb Dm Bb C Bb A
Dm
Acı bitti aşk bu defa yanıyor içim hala
Bb A Dm
Yüreğimde can buluyor her vuruşunda
Bana sorma hiç o günü eriyor tenim bedenim
Bb A Dm
Gecelerce iz sürerek aşk bulunmayacak
Gm Dm Gm Dm
Sorma sus sorma aşkın yıllarca
C Bb C A
Hoş bir kör tuzak heyhaaat
Dm Bb C Bb
Yaapma çok yıkıldım zor avundum
Dm Bb C Bb A
Aaaffet zor kadındım gel unuttum gel
Dm Bb C Bb
Yaapma çok yıkıldım zor avundum
Dm Bb C Bb A
Aaaffet zor kadındım gel unuttum gel
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Sertab Erener - Zor Kadin Tabs
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Harmony analysis
Sertab Erener – Zor Kadin: key and chord analysis
The song opens on Dm and ends on A. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (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 D minor side because it opens on Dm, Dm is heard 11 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 2× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 6× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 15× |
| V | C | Dominant — strongest pull home | C · E · G | 8× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 11× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 11× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 2× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 6× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 15× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 8× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 42 times in total; 4 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm.
Chord movement
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×7
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×5
- Bb Dm FIV → vi DmVI → iVI → i ×3
- Gm Dm Fii → vi Dmiv → iminor plagal ×2
The move to watch is Bb → C, heard 7 times. From the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- When A comes, swap the scale's C for C#: 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Bb, Dm, C, A; read them as IV–vi–V–V/vi in F or VI–i–VII–V in Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. Ending on A, the song seals F 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.
Sertab Erener - Zor Kadin 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: Aysel GürelMusic: Leah Goldberg
Demir Demirkan
Sertab Erener
Demir Demirkan
Sertab Erener
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