Sıla - Zamanında - Chord

Key Eb major – C minor Chords Gm, Cm, Fm, Ab, D, G Easy key C (capo 3)

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Capo 0

       Cm            Fm                Gm
Zamanında ne güzeldi bu bahçeden kopan nar
     Cm           Fm                       Gm
Yüzümde gülümseme bi başka dururdu o zamanlar
         Fm                   Gm
Ağrılara dönüştü içimde koşan çocuklar uslu
    Fm                      D           G                
Misafirlere ne bereketli sofralar kurulurdu

Gm            Cm        Ab                   Gm
Yaz uzundu eskiden zamanında böyle kayıplar yoktu
Gm                 Cm      Ab              Gm
Sevinçlerimiz gerçekti, gözyaşının ertesi umutlu

x2
Cm                     Gm             Ab         Gm
Güzeldim ben o yazlar kadar zamanında ailem çoktu
Cm                     Gm             Ab                          Gm
Güzeldim ben o yazlar kadar zamanında, yazın bu kadar ağlamak yoktu

       Cm             Fm                          Gm
Zamanında iyimserdik, hiç olmaz zannettik ayrılıklar
         Cm                 Fm                  Gm
Gelip geçici ömür mücadele, büyürmüş bütün doğanlar
       Fm                        Gm
Yaşım küçükmüş geleni gideni büyükmüş evin
         Fm                                 D      G   
Çok olur halası dayısı ama bi evin bi kızı hala benim

Gm            Cm        Ab                   Gm
Yaz uzundu eskiden zamanında böyle kayıplar yoktu
Gm                 Cm      Ab              Gm
Sevinçlerimiz gerçekti, hüzünlerin ertesi umutlu

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Sıla - Zamanında Tabs

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Harmony analysis

Sıla – Zamanında: key and chord analysis

The song opens on Cm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

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)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)
#7 = B (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 C minor side because it opens on Cm, Cm is heard 10 times while Eb never appears and the major V chord points straight at Cm. 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	8×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	18×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	2×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	6×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	10×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
V/iii	D	Secondary dominant V/iii — leads to Gmsecondary dominant	D · F# · A	2×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	10×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
V/v	D	Secondary dominant V/v — leads to Gmsecondary dominant	D · F# · A	2×
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	8×
v	Gm	Minor dominant — soft pull	G · Bb · D	18×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	2×
VI	Ab	Submediant — warm colour	Ab · C · Eb	6×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 46 times in total; 4 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×9

The move to watch is Gm → Cm, heard 9 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → 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 Gm, land on G, Bb, D — 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
When G comes, swap the scale's Bb for B: 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 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
2 semitones up

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. The backbone is Gm, Cm, Fm, Ab — iii–vi–ii–IV from the Eb side, v–i–iv–VI from the Cm side. D is the interesting twist: in Eb it is a chromatic chord (V/iii), while in Cm it becomes the dominant (V/v) that makes the minor side sound so determined. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. It closes on Gm, 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.