Toygar Işıklı - Sen Yanımdayken - Chord

Key Eb major – C minor Chords Gm, Cm, Bb, Abmaj7, Ab, Fm Easy key C (capo 3)

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Capo 0

Cm  Bb  Abmaj7  Gm  Abmaj7  Gm  Fm

Cm              Bb
Elime doğdu gül yüzün ah
Ab        Gm 
Kana kana içtim dünümü
Cm               Bb
Yüzüme güldü ilk sözün ah
Ab        Gm
Yana yana seçtim günümü

Abmaj7                                Gm
Sen yanımdayken o tozlu yollar aşka gider
Abmaj7                                       Gm
Ah sen sonumuzu yazsan inan dayanamam ölürüm ben
    Fm         Gm
Ayrılık bize günah
     Fm  Gm  Ab           Bb
Sonunda  yannsam bırakmam ah

Cm              Bb    
Elime doğdu gül yüzün ah
Abmaj7    Gm 
Kana kana içtim dünümü
Abmaj7           Gm
Yüzüme güldü ilk sözün ah
Fm        Gm             Cm
Yana yana seçtim günümü, gel

Cm             Bb
Aradı durdu gözlerim ah
Ab      Gm 
Bekledi günler geceler
Cm          Bb    
Yalnızım uyuyamadım
Ab          Gm 
Düğüm düğüm oldu heceler

End of song Play again?

Toygar Işıklı - Sen Yanımdayken Tabs

NotesX

Harmony analysis

Toygar Işıklı – Sen Yanımdayken: key and chord 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

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

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 7 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	4×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	13×
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	6×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	5×
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	—

Seen from C minor
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	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	4×
v	Gm	Minor dominant — soft pull	G · Bb · D	13×
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	6×
VI	Ab	Submediant — warm colour	Ab · C · Eb	5×
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). 6 different chords appear 42 times in total; 6 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

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3
Fm Cm Ebii → vi Cmiv → iminor plagal ×1
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×1

The move to watch is Gm → Cm, heard 3 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → vi. 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 Gm, land on G, Bb, D — 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.
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

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Gm, Cm, Bb, Abmaj7; read them as iii–vi–V–IVmaj7 in Eb or v–i–VII–VImaj7 in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. It closes on Gm, letting the Eb 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.