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)
Çağan Şengül - O Yaraları Ben Sardım (Pera) - Chord
Key Eb major – C minor Chords Ab, Bb, Cm, Gm, Fm Easy key G
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Key: Eb | Cm
Capo: 0
Gm Ab Gm Ab
Gm Ab Bb Gm Fm Bb Ab
Cm
Bir uçuruma davet edildim
Ab Bb
Yarım bırakıldım, zaafıma yenildim
Cm
Bin öfkeyle bir aşka dokundum
Ab Bb Cm
Yurdumdan edildim, cennetten kovuldum
Cm
O yaraları ben sardım
Ab
İyi misin diye sorsaydın bi kere
Cm Gm
Katlandım dikene
Fm Bb Ab
Gül’(ü) sevdim kül kaldı elime
Cm
Ben sandın
Ab
Seviyorum diye kandırdın yine de
Gm
Kimi koydun yerime
Fm Bb Ab
Dün yanardım bugün yaktım seni de
Gm Ab Bb Gm Fm Bb Ab
Cm
Bir enkazı mesken edindim
Ab Bb
Hem evimden oldum, içinde resimdin
Cm
Bildiğimin üstünü örttüm
Ab Bb Cm
Fotoğrafın vardı, öpüpte gömdüm
Cm
O yaraları ben sardım
Ab
İyi misin diye sorsaydın bi kere
Cm Gm
Katlandım dikene
Fm Bb Ab
Gül’(ü) sevdim kül kaldı elime
Cm
Ben sandın
Ab
Seviyorum diye kandırdın yine de
Gm
Kimi koydun yerime
Fm Bb Ab
Dün yanardım bugün yaktım seni de
End of song Play again?
Çağan Şengül - O Yaraları Ben Sardım (Pera) Tabs
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Harmony analysis
Çağan Şengül – O Yaraları Ben Sardım (Pera): key and chord analysis
The song opens on Gm and ends on Ab. 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 Cm is heard 12 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 | 6× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 10× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 18× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 12× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 12× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 12× |
| 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 | 6× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 10× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 18× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 12× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 58 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
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×6
- Fm Bb Ebii → Vii → V Cmiv → VII ×6
- Ab Cm EbIV → vi CmVI → iVI → i ×6
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×4
The move to watch is Ab → Bb, heard 6 times. From the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IV → V (IV → V: the lift that builds tension before home). 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 Bb, land on Bb, D, F — 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.
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 first chord is Gm; the ear learns where home is within a second. The backbone is Ab, Bb, Cm, Gm — IV–V–vi–iii from the Eb side, VI–VII–i–v from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. 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.
Çağan Şengül - O Yaraları Ben Sardım (Pera) 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: Çağan ŞengülMusic: Çağan ŞengülArrangement: Burak Bedirli
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