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)
Mert Demir - Delisin - Chord
Key Eb major – C minor Chords Cm7, Gm7, Abmaj7, Fm7 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm7 Gm7 Abmaj7 Fm7
Cm7 Gm7 Abmaj7 Fm7 Cm7
İstemiyorum artık, inan
Gm7 Abmaj7 Fm7 Cm7
Senden başka biiiiiiirisiini
Gm7 Abmaj7 Fm7 Cm7
Dudağını yaklaaaştır bana
Gm7 Abmaj7 Fm7 Cm7
Düşünmüyorum gerisiiini
Cm7 Gm7 Abmaj7
Delisin yavrum, delisin
Fm7 Cm7
Al yak, bu infazım
Gm7 Abmaj7
Ateşin en güzel yerisin
Fm7 Cm7
Her şeye gönlüm razı
Cm7 Gm7 Abmaj7 Fm7
x2
Cm7 Gm7 Abmaj7 Fm7
Korktuğum başıma geldi, kaçamadım
Cm7 Gm7 Abmaj7 Fm7
Seni bu yaşıma nasıl bulamadım?
Cm7 Gm7 Abmaj7 Fm7
Kendini bi' görsen öyle duramazsın
Cm7 Gm7 Abmaj7 Fm7
Masal gibi bir şey, gerçek olamazsın
Cm7 Gm7 Abmaj7
Delisin yavrum, delisin
Fm7 Cm7
Al yak, bu infazım
Gm7 Abmaj7
Ateşin en güzel yerisin
Fm7 Cm7
Her şeye gönlüm razı
End of song Play again?
Mert Demir - Delisin Tabs
NotesX
Harmony analysis
Mert Demir – Delisin: 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 17 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 | — |
| ii7 | Fm7 | Supertonic — prepares the dominant | F · Ab · C · Eb | 14× |
| iii7 | Gm7 | Mediant — a tonic-family shade | G · Bb · D · F | 14× |
| 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 | 14× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 17× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 17× |
| 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 | 14× |
| v7 | Gm7 | Minor dominant — soft pull | G · Bb · D · F | 14× |
| 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 | 14× |
| 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). 4 different chords appear 59 times in total; 4 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 Cm7 Ebii7 → vi7 Cmiv7 → i7minor plagal ×14
The move to watch is Fm7 → Cm7, heard 14 times. From the Cm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Eb side it reads ii7 → vi7. 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. The backbone is Cm7, Gm7, Abmaj7, Fm7 — vi7–iii7–IVmaj7–ii7 from the Eb side, i7–v7–VImaj7–iv7 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 → Cm7 (ii7 → vi7 in Eb, iv7 → i7 in Cm): minor plagal — deep and melancholic. The final chord is Cm7; the ear comes to rest in Cm.
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.
Mert Demir - Delisin 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: Mert Demir, Tarık TırılMusic: Mert Demir, Tarık Tırıl
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