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)
Dolu Kadehi Ters Tut - Korku - Chord
Key Eb major – C minor Chords Cm, Gm, Fm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Gm
Korktuğum yok kaybolmaktan
Fm Cm
Dere tepe farketmeksizin koştum durmadan
Baktım, önümde çok yol var
Gm
Nefes alıp ilerlemek yormaz beni
Fm Cm
Kimse yardımıma koşmaz ben sormazsam
Cm
Bi’ nedenin olmalı
Gm
Kor olunca bile dene alev almayı
Fm
Önce bırak ama kendine yanmayı
Cm
Ve de yolun başında hemen uyanmalı
Cm
Hiç umrum olmadı
Gm
Yolum uzun, açık, ona buna kanmadım
Fm
Sağa sola vurup küsüp koşup kaçmadım
Cm
Yok ki nasılım diye soran ama
Cm
Durduramaz ki bu dalgalar beni
Gm
Deniz olurum yanımda damlalar gibi
Fm
Kalınca bile anlamazlar ama
Cm
Yürüyorum hiç umrum olmadan
Cm
Kan emicilerin eline bakmadan
Gm
“Tanrım n’olur beni koru”lara kalmadan
Fm
Kendim kalkarım ayağa ve toparlamam
Cm
Belki zaman alır ama
Cm Gm
Korktuğum yok kaybolmaktan
Fm Cm
Dere tepe farketmeksizin koştum durmadan
Baktım, önümde çok yol var
Gm
Nefes alıp ilerlemek yormaz beni
Fm Cm
Kimse yardımıma koşmaz ben sormazsam
End of song Play again?
Dolu Kadehi Ters Tut - Korku Tabs
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Harmony analysis
Dolu Kadehi Ters Tut – Korku: 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 14 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 | 8× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 8× |
| 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 | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 14× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 14× |
| 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 | 8× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 8× |
| 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 | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 30 times in total; 3 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
- Fm Cm Ebii → vi Cmiv → iminor plagal ×8
The move to watch is Fm → Cm, heard 8 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.
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 Gm, land on G, Bb, D — 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.
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
Starting on Cm, the song gives away its key from the very first bar. The backbone is Cm, Gm, Fm — vi–iii–ii from the Eb side, i–v–iv from the Cm side. 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. 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.
Dolu Kadehi Ters Tut - Korku 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: Dolu Kadehi Ters TutMusic: Dolu Kadehi Ters Tut
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