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)
Xece Herdem - Birîndarım - Chord
Key Eb major – C minor Chords Bb, Eb, Cm, Ab, Fm Easy key G
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Key: Eb | Cm
Capo: 0
Cm Bb Bb Cm Bb Ab Bb Cm
Cm Bb Eb Bb Bb Bb Ab Bb Cm
Eb Bb
Oy ez helwektem, de bimrim
Eb Bb
Wek dayik bavik, de bimrim
Eb
Wek ferat û kelat bûm, de were
Ab Bb Cm
Hejane çave mino
Fm
Oy be halim
Eb
Oy bîrindarım
Bb Ab Cm
Oy de were dile mino
Fm
Oy lawe delal
Eb
Rabe delal bindestim
Bb Ab Cm
De were cane mino
Eb Bb
Oy deşt û zozan tev şin bûn
Eb Bb
Heyv li ezman da geş dibû
Eb Bb
Keç û xortan dest dan hev, de rabin
Ab Bb Cm
Benda te me were lo
Eb Bb
Oy Şinda ketî, sebra min
Eb Bb
Tu pepûko jor, mala min
Eb Bb
Dixwînim didorim te, birîndarim
Ab Bb Cm
Bê halim dilê mino
End of song Play again?
Xece Herdem - Birîndarım Tabs
NotesX
Harmony analysis
Xece Herdem – Birîndarım: 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 Eb is heard 12 times against 10 for 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 | 12× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 2× |
| 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 | 7× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 22× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 10× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 10× |
| 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 | 2× |
| 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 | 7× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 22× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 53 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 Eb EbV → Iauthentic cadence CmVII → III ×7
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×6
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×5
- Ab Cm EbIV → vi CmVI → iVI → i ×2
The move to watch is Bb → Eb, heard 7 times. From the Cm side it is VII → III; from the Eb side it reads V → I (authentic cadence: the strongest arrival home). 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 Bb, land on Bb, D, F — 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.
- Over Cm, land on C, Eb, G — 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 opening Cm lays a solid floor for everything that follows. The chords that keep coming back are Bb, Eb, Cm, Ab; read them as V–I–vi–IV in Eb or VII–III–i–VI in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. It closes on Cm, letting the Cm side have the last word.
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.
Xece Herdem - Birîndarım 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: Şıwan PerwerMusic: Zülfü Livaneli
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