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)
Key Eb major – C minor Chords Cm, Ab, Gm, Fm, Bb Easy key G
Cm Cm Gm Gm Ab Ab Gm
Fm Cm Gm
İçinde kanayan onlarca yer var
Ab Gm
İnancın yitik yüreğin soğuk
Cm Gm
Ben yokken sana bak neler olmuş
Ab Gm
İçinde şehirler bir bir vurulmuş
Fm Bb Cm
Uçmaya çalışıp düştün bir kere
Ab Fm Cm
Sağanaklar yağdı kanatlarının üstüne
Ab Fm Cm
Benim iklimim incitmez seni
Bb Cm
Gel süzül şimdi gökyüzümde
Cm Ab
Ah gel benim içim sanki durdu sana
Bb
Döner asırlık koca bir an'a
Fm
Vuslatım düşman akan zamana
Cm
Sevda değil ruhumun kumarı bu sanki
Ab Bb
Hayaline şimdi kaç kadeh kaldı ki
Gel saçlarını dök yüzüme
Fm Gm
Senin evin göğsümün kafesi
Cm Ab
Ah gel benim içim sanki durdu sana
Bb
Döner asırlık koca bir an'a
Fm
Vuslatım düşman akan zamana
Cm
Sevda değil ruhumun kumarı bu sanki
Ab Bb
Hayaline şimdi kaç kadeh kaldı ki
Gm
Sen al içimde kalan son huzurlu nefesi
End of song Play again?
Harmony 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
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 and Cm is heard 12 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.
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 | 7× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 9× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 10× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 6× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 12× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 12× |
| 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 | 7× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 9× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 10× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 6× |
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 44 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is Fm → Cm, heard 5 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.
Empty slices are chords the song doesn't use.
The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Cm, Ab, Gm, Fm; read them as vi–IV–iii–ii in Eb or i–VI–v–iv in Cm. 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 Gm; the ear comes to rest in Eb.
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.
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.
Ready-made lists by difficulty and mood.
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