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)
Melis Aydın - Sensiz Uyandım - Chord
Key Eb major – C minor Chords Cm, Gm, Abmaj7, Bb, Bbm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Gm Bbm Abmaj7 Gm
Cm Bb
Yine bitti mi ömrüm
Abmaj7
Bir soğuk var içimde, gel
Isınsın gönlüm
Gm Cm
Sensiz kaldığım gecelerde
Cm Bb
Yine ismini yazdım
Abmaj7
Soğuk hecelerle
Yine bir damlasın
Gm Cm
Her gece penceremde
Cm Bb
Bir kayıp var içimde, gel
Abmaj7
Yine yangınım ol beni sev
Gm
Kendimi unuttuğum gecelerde
Cm
Sensiz uyandım baktım dünlere
Gm
Yorma o kalbini bitmiş o günlere
Abmaj7
Gittin umutlar ağladı
Gm
İçimde öldü
Cm
O son sözün olmadı gitmedi dünlere
Bb
Çıkmaza girdim, o bomboş günlere
Abmaj7
Sensiz bulutlar ağladı
Gm
İçime çöktü
End of song Play again?
Melis Aydın - Sensiz Uyandım Tabs
NotesX
Harmony analysis
Melis Aydın – Sensiz Uyandım: 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.
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 8 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 | — |
| 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 | — |
| IVmaj7 | Abmaj7 | Subdominant — moves away from home | Ab · C · Eb · G | 6× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 4× |
| v | Bbm | Chromatic colour chordoutside the key | Bb · Db · F | 1× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 8× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 8× |
| 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 | 8× |
| 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× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 4× |
| vii | Bbm | Chromatic colour chordoutside the key | Bb · Db · F | 1× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 27 times in total; 4 of them sit naturally inside the shared scale. Bbm step outside the scale as colour chords.
Chord movement
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×5
The move to watch is Gm → Cm, heard 5 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 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 Abmaj7, land on Ab, C, Eb — 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 backbone is Cm, Gm, Abmaj7, Bb — vi–iii–IVmaj7–V from the Eb side, i–v–VImaj7–VII from the Cm side. 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. Ending on Gm, the song seals Eb 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.
Melis Aydın - Sensiz Uyandım 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: Melis AydınMusic: Melis AydınArrangement: Melis Aydın & Ahmet Çelenk
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