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 Adrian - Yalnız Adam - Chord
Key Eb major – C minor Chords Cm, Abmaj7, Eb, Bb Easy key G
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Key: Eb | Cm
Capo: 0
Cm Abmaj7 Eb Bb
Cm
Bıraktığın bir masalın içinde
Abmaj7
Tutunduğum birkaç küçük kelime
Eb
Artık okunmuyor
Bb
Artık okunmuyor
Cm
Söylediğim o umutlu şarkı
Abmaj7
İnce ince ördüğüm hikaye
Eb
Artık söylenmiyor
Bb
Kimse inanmıyor
Cm
Yalnız adam
Abmaj7
Sen de özlüyor musun
Eb
Gökyüzünde bir kuş görüp
Bb
Onu kıskanıyor musun
Cm
Yalnız adam
Abmaj7
Sen de görüyor musun
Eb
Denizin ötesinde gemiler
Bb
İmreniyor musun
Cm
Yalnız adam
Abmaj7
Sen de düşüyor musun
Eb
Her gün eksilip bir yerini
Bb
Kaybediyor musun
Cm
Yalnız adam
Abmaj7
Üzülüyor musun
Eb
Kalbinde o tarifsiz acı
Bb
Alışıyor musun
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Cem Adrian - Yalnız Adam Tabs
NotesX
Harmony analysis
Cem Adrian – Yalnız Adam: key and chord analysis
The song opens on Cm and ends on Bb. 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 opens on 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | 7× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IVmaj7 | Abmaj7 | Subdominant — moves away from home | Ab · C · Eb · G | 7× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 7× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 7× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 7× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 7× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| 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 | — |
| VImaj7 | Abmaj7 | Submediant — warm colour | Ab · C · Eb · G | 7× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 7× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 28 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
- Abmaj7 Eb EbIVmaj7 → Iplagal cadence CmVImaj7 → III ×7
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×6
The move to watch is Abmaj7 → Eb, heard 7 times. From the Cm side it is VImaj7 → III; from the Eb side it reads IVmaj7 → I (plagal cadence: the soft 'amen' ending). 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 Abmaj7, land on Ab, C, Eb — 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
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Cm, the song gives away its key from the very first bar. Cm, Abmaj7, Eb, Bb carry the song: vi–IVmaj7–I–V relative to Eb, i–VImaj7–III–VII relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abmaj7 → Eb (IVmaj7 → I in Eb, VImaj7 → III in Cm): plagal cadence — the soft 'amen' ending. Ending on Bb, the song seals Eb 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.
Cem Adrian - Yalnız Adam 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: Cem AdrianMusic: Cem AdrianArrangement: Cem Adrian
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