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)
Erdal Erzincan - Felek Senin Elinden - Chord
Key Eb major – C minor Chords Cm, Fm, Eb, Bb, Ab Easy key G
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Key: Eb | Cm
Capo: 0
Cm Be felek senin elinden Ab Fm Hem yanarım hem ağlarım Eb Fm Gece gündüz ağlar gözüm Bb Cm Başımı döğer ağlarım Eb Fm Çağırırım gani deyi Cm Fm Gel ağlatma beni deyi Bb Eb Kimi görsem seni deyi Bb Cm Yüzüne bakar ağlarım Cm Fm Çağırırım gani deyi Eb Fm Gel ağlatma beni deyi Bb Eb Kimi görsem seni deyi Bb Cm Yüzüne bakar ağlarım Cm Lutfeyle beyim urandır Ab Fm Gözümün yaşı barandır Eb Fm Kaygılı gönlüm virandır Bb Cm Hicrimi çeker ağlarım Eb Fm Karacaoğlan düştü derde Cm Fm Gece gündüz yanar narda Bb Eb Hak kadı olduğu yerde Bb Cm Kabrimden çıkar ağlarım Cm Fm Karacaoğlan düştü derde Eb Fm Gece gündüz yanar narda Bb Eb Hak kadı olduğu yerde Bb Cm Kabrimden çıkar ağlarım
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Erdal Erzincan - Felek Senin Elinden Tabs
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Harmony analysis
Erdal Erzincan – Felek Senin Elinden: key and chord analysis
The song opens on Cm 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 both starts and finishes on Cm and Cm is heard 12 times against 10 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 | 10× |
| 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 | 2× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 10× |
| 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 | 10× |
| 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 | 2× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 10× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 46 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.
Chord movement
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×6
- Fm Bb Ebii → Vii → V Cmiv → VII ×6
- Bb Eb EbV → Iauthentic cadence CmVII → III ×4
- Fm Cm Ebii → vi Cmiv → iminor plagal ×2
The move to watch is Bb → Cm, heard 6 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 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
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Cm; the ear learns where home is within a second. Cm, Fm, Eb, Bb carry the song: vi–ii–I–V relative to Eb, i–iv–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 Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. Ending on Cm, the song seals Cm 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.
Erdal Erzincan - Felek Senin Elinden 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: KaracaoğlanMusic: Erdal Erzincan
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