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)
Key Eb major – C minor Chords Cm, Ab Easy key G
Cm Cm Cm Ab
Yazarken sema karanlık ruhum için sabah yok
El kalemde mumları yak eski kadehe şarap koy
Ankara’da deniz bende uçmak için kanat yok
Hiçbir şiirin içinde bu ruhum gibi sanat yok
Ölüme inat yazıyorum bu sayfa kalbe huduttur
En güzel hikayedeydik insanlığını unuttun
Tenimi kuruttun bu şehirde tek buluttun
Üzülme bazen ölmek bile insan için umuttur
Kahve bardağından yüzüme doğru vuran sıcaklık
Yaz gününde kaldı aşk ve mevsimimiz kış artık
Ruh halim bozuk plakta dönüp duran bi’ şarkı
Biz bir hayal kurar onun da birden içine sıçardık
Mastar eklerinde kaldı bütün fiiller
Dile gelince geceyi gündüz eden soğuk şiirler
Sırtım yere gelmedikçe döner gider değirmen
Ve bi’ gün tanrı olsanız da karşınızda eğilmem
Cm
Gel limanıma gemileri yak
Ben ölümüne yazıyorum ölüme inat gel
Aklımın ucunda birileri var
Ab
Bana birileri git diyor birileri kal
Hey, Fatih Uslu dünyadan, ölüme inat beat by İtaat soğuk şehrin soğuk adamı
Bi’ dağ misali gururlu bi’ duruş sonra duruldum
Bi’ kuruş yoktu cebimdeki isteseydim bulurdum
Bi’ buluşmaydı gökyüzünde nefretim ve umudum
Nefretim kazandı ben de azat ettim bu ruhu
Günahın güruhuydu yeryüzünde tek melek
Bir asır sonra gelip senden tutunmamı bekleme
Kâbus ol bu sonbaharda delir kapımı tekmele
Ne kadar cambaz olursan ol takılıcan direklere
Ölüm bahçesinde en kırmızı gül benim
Dün denen yalanla geçti bak en güzel günlerim
Dün değil bugündeyim bu dün senin bugün benim
Ve öyle sert de değilim eğer gülseniz gülümserim
Bi’ ilham kaynağım yok elli beş senelik radyolar
Evimde çalar, yatak odamda kırk senelik karyolam
Otuz senelik aşk da bi’ gün yuvarlanır dar yola
Ben yirmi senelik adam bindim hayat denen kamyona
Gel limanıma gemileri yak
Ben ölümüne yazıyorum ölüme inat gel
Aklımın ucunda birileri var
Bana birileri git diyor birileri kal
End of song Play again?
Harmony analysis
The song opens on Cm and ends on Ab. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 4 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.
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 | — |
| 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 | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 4× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 4× |
| 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 | — |
| 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 | — |
The key pair is Eb major and its relative C minor (3 flats). 2 different chords appear 6 times in total; 2 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is Ab → Cm, heard once. From the Cm side it is VI → i (VI → i: falls a half step into home); from the Eb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Cm, Ab; read them as vi–IV in Eb or i–VI in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Cm (IV → vi in Eb, VI → i in Cm): VI → i — falls a half step into home. The final chord is Ab; 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.
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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