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)
Betül Demir - Geceye Tiryaki - Chord
Key Eb major – C minor Chords Cm, Gm, Abmaj7, Fm, Bb Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Bb Abmaj7
Uçurumları gezdim elinle tutunmadım hiç
Fm Gm
Daha da derinine düştüm, bi yanım imdat
Cm Bb Abmaj7
Bana verdin hep arka sokakları sormadım hiç
Fm Gm
Aşımı suyumu bölüştüm, bize bir bak
Abmaj7 Gm Cm
Hiç mi sızlamıyo o yüreğin sahi
Bb
Hani insanız ya
Abmaj7 Gm Cm
Akşam olsan ağarıyo sabahın yani
Abmaj7 Gm Cm
Ben ki sana ne emekler verdim ya
Bb
Kıymet bilmedin ya
Abmaj7 Gm Cm
Mevlam biliyo onun adaleti baki
Cm
Ne direndim olmadı
Fm
Bu yaranın çaresi bulunmadı
Gm Fm Cm
Ve acıyor hala yerin illaki
Yaşadım bir çırpıda
Fm
Yararı yok ki takvime bir çarpı daha
Gm Fm Cm
Bi yanım hala o geceye tiryaki
Abmaj7 Gm Cm
Yutkunamam taş misali
Abmaj7 Bb Cm
Tam yedi cihan şahit
Cm
Aşk dilendim olmadı
Fm
Bu yaranın çaresi bulunmadı
Gm Fm Cm
Ve acıyor hala yerin illaki
Yaşadım bir çırpıda
Fm
Yararı yok ki takvime bir çarpı daha
Gm Fm Cm
Bi yanım hala o geceye tiryaki
Abmaj7 Gm Cm
Bulmalı bir yol su misali
Abmaj7 Bb Cm
Olmadı bir sahil
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Betül Demir - Geceye Tiryaki Tabs
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Harmony analysis
Betül Demir – Geceye Tiryaki: 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 16 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 | 10× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 12× |
| 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 | 10× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 6× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 16× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 16× |
| 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 | 10× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 12× |
| 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 | 10× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 6× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 54 times in total; 5 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
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×7
- Fm Cm Ebii → vi Cmiv → iminor plagal ×4
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2
- Abmaj7 Bb EbIVmaj7 → VIV → V CmVImaj7 → VIIVI → VII ×2
The move to watch is Gm → Cm, heard 7 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 opening Cm lays a solid floor for everything that follows. The backbone is Cm, Gm, Abmaj7, Fm — vi–iii–IVmaj7–ii from the Eb side, i–v–VImaj7–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 Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. It closes on Cm, letting the Cm 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.
Betül Demir - Geceye Tiryaki 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: Mabel MatizMusic: Emirhan Cengiz, Sude Bilge DemirArrangement: Emirhan Cengiz
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