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)
Cansu Koç - Gözündeki Yaşlarına - Chord
Key Eb major – C minor Chords Cm, Fm, Eb, Bb Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Fm Cm Eb Cm Fm Cm Eb Cm Cm Bb Uzun ince giderken de Eb Fm Yolda hayal ederken de Fm Eb Bir güzele vuruldum Bb Cm Gam keder güderken de Fm Eb Hem sevildim hem de sevdim Bb Cm Hiç başıma gelmezken de Fm Cm Gözündeki yaşlarına Eb Cm Kara kara kaşlarına Fm Cm Yangın oldum vurgun oldum Eb Cm Şu güzelim saçlarına Cm Bb Şu karşıdan gelenleri Eb Fm Bilemedim gidenleri Fm Eb İçindeki bir güzeli Bb Cm Sanki görmüştüm ezeli Fm Eb Kara kaşlı o bir peri Bb Cm Sanki sevmiştim hayali Fm Cm Gözündeki yaşlarına Eb Cm Kara kara kaşlarına Fm Cm Yangın oldum vurgun oldum Eb Cm Şu güzelim saçlarına
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Cansu Koç - Gözündeki Yaşlarına Tabs
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Harmony analysis
Cansu Koç – Gözündeki Yaşlarına: key and chord analysis
The song opens on Fm and ends on Cm. 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 it comes to rest on Cm and Cm is heard 18 times against 12 for Eb. 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 | 12× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 12× |
| 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 | 6× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 18× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 18× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 12× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 12× |
| 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 | 6× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 48 times in total; 4 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 ×6
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×4
- Bb Eb EbV → Iauthentic cadence CmVII → III ×2
The move to watch is Fm → Cm, heard 6 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 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.
- Over Eb, land on Eb, G, Bb — 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. The backbone is Cm, Fm, Eb, Bb — vi–ii–I–V from the Eb side, i–iv–III–VII from the Cm side. 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. The final chord is Cm; the ear comes to rest in Cm.
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.
Cansu Koç - Gözündeki Yaşlarına 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: Zor BeylerMusic: Zor Beyler
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