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)
Irmak Arıcı - Dönemem (Enes Yolcu) - Chord
Key Eb major – C minor Chords Cm, Bb, Fm, Ab, Gm, Dm, G7 Easy key C (capo 3)
No ratings yet
or your user informations
Make it yours
Text size
Key: Eb | Cm
Capo: 0
Cm
Seni terkediyorum
Fm
Ne kadar çok sevsem de
Ölümüne istesem de
Ne kadar çok sevsem de
Ölümüne istesem de
Cm
Bağrıma taş basıyorum
Bb Gm Cm
Seni terk ediyorum
Bb Ab Cm Bb Cm
Cm
Yokluğunda varlığını
Gm Ab
Özlemem gerekirken
Bb
Varlığında yokluğuna
Gm Cm Gm Cm
Hasret bıraktın
Cm Bb Ab Fm Bb
Bu nasıl paylaşmak bu nasıl hayaaaat
Ab Fm Cm
Kahrını çilesini ben çekiyorum
Cm Bb Ab Cm Fm Bb
Senin insafsızlığına bu bir feryaaaaat
Ab Fm Cm
Düşlerim omuzumda ben gidiyorum
Fm Cm
Dönemem dönemem sana ah gücüm yok
Dm G7
Bir sevda uğruna çok çektim çok elinden
Fm Cm
Dönemem dönemem sana gücüm yok
Dm G7 Cm
Bir sevda uğruna çok çektim çok
Adını kahpe koydum bırak hep öyle kalsın
Sana son bir sözüm var Allah'ından ve Allah'ından bulasın
End of song Play again?
Irmak Arıcı - Dönemem (Enes Yolcu) Tabs
NotesX
Harmony analysis
Irmak Arıcı – Dönemem (Enes Yolcu): 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)
- #7 = B (harmonic-minor leading tone from the V chord)
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, Cm is heard 16 times while Eb never appears and the major V chord points straight at 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 | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 7× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 4× |
| V7/vi | G7 | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D · F | 2× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 6× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 8× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 16× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| vii | Dm | Chromatic colour chordoutside the key | D · F · A | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 16× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| ii | Dm | Chromatic colour chordoutside the key | D · F · A | 2× |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 7× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 4× |
| V7 | G7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D · F | 2× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 6× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 8× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 45 times in total; 5 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G7 is V7/vi, a secondary dominant heading for Cm. Dm step outside the scale as colour chords.
Chord movement
- Fm Cm Ebii → vi Cmiv → iminor plagal ×5
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3
- Ab Cm EbIV → vi CmVI → iVI → i ×2
- Fm Bb Ebii → Vii → V Cmiv → VII ×2
- G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×1
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1
The move to watch is Fm → Cm, heard 5 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 Bb, land on Bb, D, F — 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.
- When G7 comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.
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, Bb, Fm, Ab — vi–V–ii–IV from the Eb side, i–VII–iv–VI from the Cm side. G7 is the interesting twist: in Eb it is a chromatic chord (V7/vi), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. The final chord is Cm; the ear comes to rest in Cm.
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.
Irmak Arıcı - Dönemem (Enes Yolcu) 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: İbrahim ErkalMusic: İbrahim ErkalArrangement: Enes Yolcu
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.