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)
Tuğçe Kandemir - Aradan Çok Yıllar Geçti - Chord
Key Eb major – C minor Chords Cm7, Eb, Fm7, Gm7, Abmaj7, Bb Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm7 Cm7 Cm7 Cm7 Eb Fm7 Gm7 Abmaj7 Bb Cm7 Cm7 Aradan çok yıllar geçti, çok sular aktı, düştüm bu hale Eller heva hevesine düşkün, konuştu hâlimi yedi mahalle Eb Fm7 Gm7 Herkes anladı, ne yazık ki anlatamıyorum derdimi yare Abmaj7 Bb Kalbim ellerden düştü, oldu ciğerde pare pare Cm7 Göründüm güçlü, düzeldim sandım ama hep bunalımdayım Ne mümkün dengede durmak, fırtınadan bir uçurumdayım Eb Fm7 Gm7 Daha filmi anlatmadan ağlarsın, sen nasıl bir insansın? Abmaj7 Bb Cm7 Ben sen’le aşka düştüm, parçalandım tane tane
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Tuğçe Kandemir - Aradan Çok Yıllar Geçti Tabs
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Harmony analysis
Tuğçe Kandemir – Aradan Çok Yıllar Geçti: key and chord analysis
The song opens on Cm7 and ends on Cm7. 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 8 times against 3 for Eb. 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 | 3× |
| ii7 | Fm7 | Supertonic — prepares the dominant | F · Ab · C · Eb | 3× |
| iii7 | Gm7 | Mediant — a tonic-family shade | G · Bb · D · F | 3× |
| 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 | 3× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 3× |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 8× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 8× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 3× |
| iv7 | Fm7 | Subdominant — moves away from home | F · Ab · C · Eb | 3× |
| v7 | Gm7 | Minor dominant — soft pull | G · Bb · D · F | 3× |
| 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 | 3× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 3× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 23 times in total; 6 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
- Bb Cm7 EbV → vi7deceptive cadence CmVII → i7Aeolian arrival ×3
- Abmaj7 Bb EbIVmaj7 → VIV → V CmVImaj7 → VIIVI → VII ×3
The move to watch is Bb → Cm7, heard 3 times. From the Cm side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi7 (deceptive cadence: expected Eb, lands on 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Fm7, land on F, Ab, C — 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
Starting on Cm7, the song gives away its key from the very first bar. Cm7, Eb, Fm7, Gm7 carry the song: vi7–I–ii7–iii7 relative to Eb, i7–III–iv7–v7 relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Cm7 (V → vi7 in Eb, VII → i7 in Cm): Aeolian arrival — rises a whole tone into home. Ending on Cm7, the song seals Cm as home.
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.
Tuğçe Kandemir - Aradan Çok Yıllar Geçti 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: Kolera (Esen Güler)Music: Kolera (Esen Güler)Arrangement: Emirhan Cengiz
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