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)
Lust - Kasmicam - Chord
Key Eb major – C minor Chords Cm7, F, Bb, Gm7 Easy key F
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Key: Eb | Cm
Capo: 0
Cm7 Bb Gm7 F
Cm7
Yalnız kalıp bi gün otobüs tutucam
bb Gm7
Çantamın içinde şehir dolu gezcek malzeme olacak
F
Tabii ki kendimi kasmicam(Kasmicam)
Cm7
Bilmediğim o şehirlere gidicem
Bb
Tanımadığım o kadınları sevicem
Gm7
Geri dönene kadar bu şehre
F
Kendimi toplicam (Toplicam)
Cm7
"Şehrine geliyorum yosma" dedim (Yosma)
Bb
"Geliyorum diye kasma" dedim (Kasma)
Gm7
"Sadece çayı demle" dedim (Demle)
F
"Tek amacım biraz gezmek"dedim
Cm7
"Yoruldum, omzuma yaslan" dedi (Yaslan)
Bb
"Çay demlenir birazdan" dedi (Birazdan)
Gm7
Sarıldı, "Beni bırakma" dedi (Bırakma)
F
"Bu şehirden gitme asla" dedi
Cm7 Bb
Ben zincirleri attım
Gm7
Yalnızlığı bilen bi' adamım
F
Buna çok alıştım ve onu bırakmicam (E yani)
Cm7 Bb
Belki başka bir hayatta
Gm7
Giderse her şey yolunda
F
Seninle kalabilirim
Cm7
Yanında uyanabilirim
Bb
Şimdi güvenim olursa
Gm7
Unutursam aslında
F
Yeniden durabilirim
Karşındaki ben olabilirim
Cm7 Bb Gm7 F
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Çok zor (E yani)
Cm7
Yalnız kalıp bi gün otobüs tutucam
bb Gm7
Çantamın içinde şehir dolu gezcek malzeme olacak
F
Tabii ki kendimi kasmicam(Kasmicam)
Cm7
Bilmediğim o şehirlere gidicem
Bb
Tanımadığım o kadınları sevicem
Gm7
Geri dönene kadar bu şehre
F
Kendimi toplicam (Toplicam)
Tabii ki kendimi kasm'ica'm (Kasmicam)
End of song Play again?
Lust - Kasmicam Tabs
NotesX
Harmony analysis
Lust – Kasmicam: key and chord analysis
The song opens on Cm7 and ends on F. 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 and Cm is heard 11 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 | 11× |
| iii7 | Gm7 | Mediant — a tonic-family shade | G · Bb · D · F | 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 | — |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 9× |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 11× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 11× |
| 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 | 11× |
| v7 | Gm7 | Minor dominant — soft pull | G · Bb · D · F | 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 | — |
| 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 40 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Cm7, land on C, Eb, G — 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.
- Over Bb, land on Bb, D, F — 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 Cm7, the song gives away its key from the very first bar. The chords that keep coming back are Cm7, F, Bb, Gm7; read them as vi7–V/V–V–iii7 in Eb or i7–IV–VII–v7 in Cm. F adds a moment of surprise: secondary dominant V/V — leads to Bb. The final chord is F; 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.
Lust - Kasmicam 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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