Semicenk - İlkbaharım Kışa Döndü - Chord

Key Eb major – C minor Chords Cm, Fm, Bb, Gm, Abmaj7, Eb, G7 Easy key C (capo 3)

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Capo 0

Cm  Cm  Fm  Abmaj7  Bb  Fm  Gm  Cm

Cm
Sen miydin sevgilimi çalan
                      Fm
Anladım ki dostluklar yalan
Abmaj7           Bb
Sen olamazsın bu canımı acıtan
       Fm        Gm
Beni sırtımdan vuran

Cm
Ben miydim seni böyle yakan
                  Fm
Sevdiğine kem gözle bakan
Abmaj7              Bb
Bilmiyordum onun senle olduğunu
         Fm         Gm
Nasıl yaptım sana bunu

Cm
Ben onu delice sevmiştim
                 Fm
Gözlerine cennet demiştim
Abmaj7               Bb
Bir daha hiçbir gülen göze inanmam
      Fm       Gm  Cm
Yıkılırım daha iyi

Cm
Çıkarsızca sevdim ben onu
                  Fm
Böyle mi olacaktı sonu
Abmaj7                Bb
Sende yandın bu aşkla bak bende yandım
       Fm        Gm
Haketmedik biz bunu

Cm
İlkbaharım kışa döndü
Gm            
Bu zalimin yüzünden
Fm
Dostum senin bir suçun yok
Bb        Abmaj7  Gm
Anlıyorum gözüünnnden

Cm
Seni üzgün görmektense
Gm            
Bu kalbimi yakardım
Fm
Öleceğimi bilsem de
Bb        Abmaj7  Gm
Aranızdan çıkaaaardım

Cm         Bb     Cm
Evet sen de ben de yandık
           Bb     Cm
Bir şeytanı melek sandık
         Bb
Bu hayattan bir ders aldık
Abmaj7      Bb   Cm  Fm
İki dost bizbize kaldık
       Eb               G7      
Bu hayattan bir ders aldık
                 Cm
İki dost bizbize kaldık

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Semicenk - İlkbaharım Kışa Döndü Tabs

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Harmony analysis

Semicenk – İlkbaharım Kışa Döndü: 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.

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)
#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 15 times against 1 for Eb 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	1×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	13×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	9×
V7/vi	G7	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D · F	1×
IVmaj7	Abmaj7	Subdominant — moves away from home	Ab · C · Eb · G	8×
V	Bb	Dominant — strongest pull home	Bb · D · F	11×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	15×
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	15×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	1×
iv	Fm	Subdominant — moves away from home	F · Ab · C	13×
v	Gm	Minor dominant — soft pull	G · Bb · D	9×
V7	G7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D · F	1×
VImaj7	Abmaj7	Submediant — warm colour	Ab · C · Eb · G	8×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	11×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 58 times in total; 6 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.

Chord movement

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×7
Abmaj7 Bb EbIVmaj7 → VIV → V CmVImaj7 → VIIVI → VII ×6
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
Fm Bb Ebii → Vii → V Cmiv → VII ×2
G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×1

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 Fm, land on F, Ab, C — 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.
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

The first chord is Cm; the ear learns where home is within a second. The backbone is Cm, Fm, Bb, Gm — vi–ii–V–iii from the Eb side, i–iv–VII–v 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 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.