Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Semicenk - Eyvah Neye Yarar - Chord
Key Bb major – G minor Chords Dm, Cm, Gm, F, Bb, Eb, Am Easy key C
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Key: Bb | Gm
Capo: 0
Dm Dm Dm Dm Am Gm F Gm Dm Cm Gm Bb Dm Sevenin gönlünde umut olmasa Eb F Cm Dm Hayal neye yarar, düş neye yarar Cm Gm Bb Dm Sevilmekten yana hiç şansın yoksa Eb F Cm Dm Talih neye yarar, şans neye yarar Cm Gm Bb Dm Sevilmekten yana kısmetin yoksa Eb F Cm Dm Talih neye yarar, şans neye yarar Dm Gm Dm Gm İçine sığmayan efkarın varsa Cm F Cm Dm Eyvah neye yarar, ah neye yarar Cm Dm Dm Gm Dm Gm Teselli edip de avutmuyorsa Cm F Cm Dm Kadeh neye yarar, mey neye yarar Cm F Cm Dm Kadeh neye yarar, mey neye yarar Cm Gm Bb Dm Gönlüm nasır tutmuş bir sabır taşı Eb F Cm Dm Yağmura özenmiş gözümün yaşı Cm Gm Bb Dm Kaybettim aşkımla olan savaşı Eb F Cm Dm Eyvah neye yarar, ah neye yarar Dm Gm Dm Gm İçine sığmayan efkarın varsa Cm F Cm Dm Eyvah neye yarar, ah neye yarar Dm Gm Dm Gm Teselli edip de avutmuyorsa Cm F Cm Dm Kadeh neye yarar, mey neye yarar Cm F Cm Dm Kadeh neye yarar, mey neye yarar
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Semicenk - Eyvah Neye Yarar Tabs
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Harmony analysis
Semicenk – Eyvah Neye Yarar: key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because Gm is heard 15 times against 5 for Bb. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 5× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 23× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 30× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 5× |
| V | F | Dominant — strongest pull home | F · A · C | 12× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 15× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 15× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| ii | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| III | Bb | Relative major — the bright side | Bb · D · F | 5× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 23× |
| v | Dm | Minor dominant — soft pull | D · F · A | 30× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 5× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 12× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 91 times in total; 6 of them sit naturally inside the shared scale. Am step outside the scale as colour chords.
Chord movement
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×8
- Cm F Bbii → Vii → V Gmiv → VII ×6
- Cm Gm Bbii → vi Gmiv → iminor plagal ×5
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×5
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1
The move to watch is Dm → Gm, heard 8 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm, land on D, F, A — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. Dm, Cm, Gm, F carry the song: iii–ii–vi–V relative to Bb, v–iv–i–VII relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. It closes on Dm, letting the Bb 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.
Semicenk - Eyvah Neye Yarar 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: Yılmaz TatlısesMusic: Burhan BayarArrangement: Semicenk
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