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)
Gamze Karta - Tolerans - Chord
Key Eb major – C minor Chords Cm, Fm, G7 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Fm G7 Cm
Cm Fm
Sana daha fazla tanıyamam tolerans
G7 Cm
Hep havalarda burnun, hep bi’ naz
Fm
Sakın ola kıyaslama bizi
Cm
Ben hep kendimim, sen tilki gibi kurnaz
Cm G7
Sakız gibi yapışır üstünüze kötülük
Cm G7
İşler ruhunuza çıkmaz üstelik
Fm Cm
Sağlam her adımım, olmadım körkütük aşık
G7 Cm
Aşk ne büyük delilik
Cm Fm
Sendelesem bile düşmedim
G7 Cm
Toparlandım hemen uzun sürmedi
Fm
Herkes gider kalır düşlerim
G7 Cm
Ben düşler ülkesinin prensesi
Cm Fm
Sana daha fazla tanıyamam tolerans
G7 Cm
Hep havalarda burnun, hep bi’ naz
Fm
Sakın ola kıyaslama bizi
Cm
Ben hep kendimim, sen tilki gibi kurnaz
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Gamze Karta - Tolerans Tabs
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Harmony analysis
Gamze Karta – Tolerans: 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)
- #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 while Eb never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 8× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V7/vi | G7 | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D · F | 8× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | — |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 15× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| 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 | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 8× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V7 | G7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D · F | 8× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | — |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 31 times in total; 2 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
- G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×7
- Fm G7 Ebii → V7/vi Cmiv → V7iv → V ×5
- Fm Cm Ebii → vi Cmiv → iminor plagal ×3
The move to watch is G7 → Cm, heard 7 times. From the Cm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V7/vi → vi (secondary resolution: G7 resolves a fourth up to Cm). 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 G7, land on G, B, D — 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, G7 — vi–ii–V7/vi from the Eb side, i–iv–V7 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 G7 → Cm (V7/vi → vi in Eb, V7 → i in Cm): harmonic-minor cadence — the major V resolves dramatically. 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.
Gamze Karta - Tolerans 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: Oktay KayaMusic: Oktay KayaArrangement: Berk Kirtiş
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