Ayça Özefe - Sen De Yalnız Kal (Emre Yıldırım) - Chord

Key Eb major – C minor Chords Ab, Cm, Gm, Bb, Fm, Abmaj7 Easy key G

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Capo 0

Cm  Gm  Bb  Ab

Cm
Bu duruma getiren nedir bizi bir tahminim var

Biri aşk önemi yok yakarım tüm resimleri
Ab
Diğeri nefret beni affet bi de korku

Koca boşluk içimde yok mu duyan beni

Cm
Çıkmıyor aklımdan o günden beri

Sevmeyen biri
  Ab
Dilinde tek hece git diyor tabi

Anladım tamam yanında yok yerim

   Cm
Ne varsa aldın elimden dünüm bugünüm

Zor oldu nefret etmek bu yüzden üzgünüm
Ab
Başka yolu yoktu

İstediğin oldu, en kolayı buydu 

Fm
Sen de yalnız kal 
Bb                      Gm
Sen de yalnız ol anla beni
                       Ab
Titresin dudakların gözyaşlarınla
      Fm     Ab            Bb
Ya da tut akmasın boşver beni

Bunları sana söylemek
Gm
İstemedim, istemem
Abmaj7
Haklısın da

Cm                  Gm
Uzaktan izliyor gibiyim 
                    Bb
Ne kadar geçti üstünden
                        Ab
Kendi hayatımda seyirciyim

Yakınıyorum kendimden
     Fm                          Bb
Neye dokunduysam hep külleri elimde
      Gm                        Ab
Kime inandıysam hep izleri benimle

End of song Play again?

Ayça Özefe - Sen De Yalnız Kal (Emre Yıldırım) Tabs

NotesX

Harmony analysis

Ayça Özefe – Sen De Yalnız Kal (Emre Yıldırım): key and chord 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

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 5 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	3×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	5×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	8×
IVmaj7	Abmaj7	Subdominant — moves away from home	Ab · C · Eb · G	1×
V	Bb	Dominant — strongest pull home	Bb · D · F	5×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	5×
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	5×
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	3×
v	Gm	Minor dominant — soft pull	G · Bb · D	5×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	8×
VImaj7	Abmaj7	Submediant — warm colour	Ab · C · Eb · G	1×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	5×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 27 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

Ab Cm EbIV → vi CmVI → iVI → i ×3
Fm Bb Ebii → Vii → V Cmiv → VII ×2
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×1
Abmaj7 Cm EbIVmaj7 → vi CmVImaj7 → iVI → i ×1

The move to watch is Ab → Cm, heard 3 times. 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.

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 Ab, land on Ab, C, Eb — 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 Gm, land on G, Bb, D — 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 Ab, Cm, Gm, Bb; read them as IV–vi–iii–V in Eb or VI–i–v–VII 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. It closes on Ab, 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.