Ziynet Sali - Uyku Tutmadı - Chord

Key Eb major – C minor Chords Cm7, Gm7, Abmaj7, Bb, Fm7 Easy key C (capo 3)

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Capo 0

Cm7  Gm7  Cm7  Gm7

     Cm7
Bi selam bi duruş bi bakış
    Gm7
Her şey kalbe giden son akış
     Cm7
Geri sarmak zor olanı biteni
Gm7                Fm7   Cm7
Şu ana odaklan sonuçla barış

Abmaj7     Bb
Ne bana tutun ne de ona
Abmaj7         Gm7       Fm7   Abmaj7  Bb
En çok kendinle kendinle olana

Cm7                       Fm7  Gm7
Of kime sorsam sorularımı
Cm7                         Fm7  Gm7
Of kimden alsam tutkularımı
Abmaj7   Bb              Abmaj7  Bb
Of aşk dilesem mi gece yarısı
Abmaj7   Cm7
Of ki ne of
    Gm7            Bb
Yatağımda dönüp durdum
    Abmaj7  Gm7      Cm7
Halaaaaaaaaaa uyku tutmadı

Cm7  Cm7  Fm7  Gm7  Cm7  Cm7  Fm7  Gm7
Abmaj7  Bb  Abmaj7  Bb  Abmaj7  Cm7  Gm7  Bb  Abmaj7  Gm7  Cm7

Abmaj7     Bb
Ne bana tutun ne de ona
Abmaj7         Gm7       Fm7   Abmaj7  Bb
En çok kendinle kendinle olana

Cm7                       Fm7  Gm7
Of kime sorsam sorularımı
Cm7                         Fm7  Gm7
Of kimden alsam tutkularımı
Abmaj7   Bb              Abmaj7  Bb
Of aşk dilesem mi gece yarısı
Abmaj7   Cm7
Of ki ne of
    Gm7            Bb
Yatağımda dönüp durdum
    Abmaj7  Gm7      Cm7
Halaaaaaaaaaa uyku tutmadı

End of song Play again?

Ziynet Sali - Uyku Tutmadı Tabs

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Harmony analysis

Ziynet Sali – Uyku Tutmadı: 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.

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)

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 19 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	9×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	18×
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	18×
V	Bb	Dominant — strongest pull home	Bb · D · F	13×
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	19×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i7	Cm7	Tonic — home	C · Eb · G · Bb	19×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	9×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	18×
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	18×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	13×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 77 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

Abmaj7 Bb EbIVmaj7 → VIV → V CmVImaj7 → VIIVI → VII ×10
Gm7 Cm7 Ebiii7 → vi7 Cmv7 → i7natural-minor cadence ×9
Abmaj7 Cm7 EbIVmaj7 → vi7 CmVImaj7 → i7VI → i ×3
Bb Cm7 EbV → vi7deceptive cadence CmVII → i7Aeolian arrival ×2
Fm7 Cm7 Ebii7 → vi7 Cmiv7 → i7minor plagal ×1

The move to watch is Abmaj7 → Bb, heard 10 times. From the Cm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IVmaj7 → 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 Cm7, land on C, Eb, G — 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.
Over Abmaj7, land on Ab, C, Eb — 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 Cm7 lays a solid floor for everything that follows. Cm7, Gm7, Abmaj7, Bb carry the song: vi7–iii7–IVmaj7–V relative to Eb, i7–v7–VImaj7–VII relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abmaj7 → Bb (IVmaj7 → V in Eb, VImaj7 → VII in Cm): VI → VII — the rising step that heads for the tonic. It closes on Cm7, 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.