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)
Cem Karaca - Islak Islak - Chord
Key Eb major – C minor Chords Gm, Bb, F, Cm Easy key F
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Key: Eb | Cm
Capo: 0
Gm Bb F Gm Gecenin nemimi düşmüş gözlerine Gm F Gm Ne olur ıslak ıslak bakma öyle Gm F Cm Bb Saçını dök sineme derdini söyle Gm Bb F Gm Yeterki ıslak ıslak bakma öyle Gm Bb Sürerim buluttan tarlaları Cm Gm F Gm Yağmurlar ekerim göğün göğsüne Gm Bb Güneşte demlerim senin çayını Cm Gm F Gm Yüreğimden süzer öyle veririm Gm Bb Cm Ben feleğin şu çarkına çomak sokarım Gm Bb Cm Ben feleğin tekerine çomak sokarım Gm Bb F Gm Yeterki ıslak ıslak bakma öyle Gm Bb F Gm Ne olur ıslak ıslak bakma öyle
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Cem Karaca - Islak Islak Tabs
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Harmony analysis
Cem Karaca – Islak Islak: key and chord analysis
The song opens on Gm and ends on Gm. 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 5 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 | — |
| V/V | F | Secondary dominant V/V — leads to Bbsecondary dominant | F · A · C | 8× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 19× |
| 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 | 9× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 5× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 5× |
| 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 | — |
| IV | F | Major IV — Dorian / melodic-minor colourmodal colour | F · A · C | 8× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 19× |
| 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 | 9× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 41 times in total; 3 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×4
The move to watch is Bb → Cm, heard 4 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). 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 Bb, land on Bb, D, F — 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.
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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, Bb, F, Cm; read them as iii–V–V/V–vi in Eb or v–VII–IV–i in Cm. F adds a moment of surprise: secondary dominant V/V — leads to Bb. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. 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.
Cem Karaca - Islak Islak 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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