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)
Ceylan Ertem - Yitirdim Yolumu - Chord
Key Eb major – C minor Chords Abmaj7, Fm7, Gm7, Bb, Ebmaj7, Cm7 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Abmaj7 Fm7 Bb Cm7 Sağa döndüm sola döndüm, bir yön tutturamadım Abmaj7 Fm7 Bb Ebmaj7 Dedim ki kendime oldum, yutturamadım Abmaj7 Fm7 Bb Ebmaj7 Sevdiler gittim, sevdim gittiler durduramadım Abmaj7 Fm7 Bb Ebmaj7 Dedim sevdadan bol ne var ama bulduramadım Cm7 Abmaj7 Fm7 Ebmaj7 Yüreğimi gösteremem apaçık, korkuyorum işte Cm7 Abmaj7 Fm7 Ebmaj7 Bundan daha çok tek başınalığı taşıyamam bu gidişle Abmaj7 Gm7 Abmaj7 Gm7 Yitirdim yolumu elimden tutan yok Abmaj7 Gm7 Abmaj7 Fm7 Bb Gm7 Getirdim sonumu, bir çaaaaaaaare sunan yok Abmaj7 Gm7 Abmaj7 Gm7 Abmaj7 Gm7 Abmaj7 Fm7 Bb Gm7 Abmaj7 Fm7 Bb Ebmaj7 Sevdiler gittim, sevdim gittiler durduramadım Abmaj7 Fm7 Bb Ebmaj7 Dedim sevdadan bol ne var ama bulduramadım Cm7 Abmaj7 Fm7 Ebmaj7 Yüreğimi gösteremem apaçık, korkuyorum işte Cm7 Abmaj7 Fm7 Ebmaj7 Bundan daha çok tek başınalığı taşıyamam bu gidişle Abmaj7 Gm7 Abmaj7 Gm7 Yitirdim yolumu elimden tutan yok Abmaj7 Gm7 Abmaj7 Fm7 Bb Gm7 Getirdim sonumu, bir çaaaaaaaare sunan yok
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Ceylan Ertem - Yitirdim Yolumu Tabs
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Harmony analysis
Ceylan Ertem – Yitirdim Yolumu: key and chord analysis
The song opens on Abmaj7 and ends on Gm7. 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 Eb major side because Eb is heard 9 times against 5 for Cm. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| Imaj7 | Ebmaj7 | Tonic — home | Eb · G · Bb · D | 9× |
| ii7 | Fm7 | Supertonic — prepares the dominant | F · Ab · C · Eb | 13× |
| iii7 | Gm7 | Mediant — a tonic-family shade | G · Bb · D · F | 12× |
| 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 | 22× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 9× |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 5× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 5× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| IIImaj7 | Ebmaj7 | Relative major — the bright side | Eb · G · Bb · D | 9× |
| iv7 | Fm7 | Subdominant — moves away from home | F · Ab · C · Eb | 13× |
| v7 | Gm7 | Minor dominant — soft pull | G · Bb · D · F | 12× |
| 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 | 22× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 9× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 70 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
- Fm7 Bb Ebii7 → Vii → V Cmiv7 → VII ×9
- Bb Ebmaj7 EbV → Imaj7authentic cadence CmVII → IIImaj7 ×5
- Bb Cm7 EbV → vi7deceptive cadence CmVII → i7Aeolian arrival ×1
The move to watch is Fm7 → Bb, heard 9 times. From the Eb side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the Cm side it is iv7 → VII. 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 Abmaj7, land on Ab, C, Eb — 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.
- Over Gm7, 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 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 opening Abmaj7 lays a solid floor for everything that follows. The backbone is Abmaj7, Fm7, Gm7, Bb — IVmaj7–ii7–iii7–V from the Eb side, VImaj7–iv7–v7–VII from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm7 → Bb (ii7 → V in Eb, iv7 → VII in Cm): ii → V — the classic preparation of the dominant. The final chord is Gm7; the ear comes to rest in Eb.
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.
Ceylan Ertem - Yitirdim Yolumu 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: Sezen AksuMusic: Sezen AksuArrangement: Gürsel Çelik
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