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)
Yüzyüzeyken Konuşuruz - Ankara Kapkara - Chord
Key Eb major – C minor Chords G, Fm, F#, Cm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Fm G G F# Fm Ben sana hep dürbünle bakmışım Fm G G F# Fm Aklıma gelince hemen yatmışım Fm G G F# Fm Seni diye sigarayı bırakmışım Fm G G F# Fm Kendimi tuzsuz sulara atmışım Fm G G F# Fm Çok değil birkaç yüz kilometre Fm G G F# Fm Ankara İstanbul'dan hareketle Fm G G F# Fm Dahası uçakla da gidilmekte Fm G G F# Fm Ama bu derinliği yok etmekte G aaaaaa Cm G Bir tarafım beyaz ama diğeri kapkara Cm G G F# Fm Bu tuttuğum takımdan kaynaklanmakta Fm G G F# Fm Senin payın da yadırganamaz ama Fm G G F# Fm Gelemem çok soğuktur şimdi Ankara Fm G G F# Fm Gelemem çok soğuktur şimdi Ankara Cm G Cm G Fm G Fm G F# Fm Fm G G F# Fm Aslına bakarsan çok yorgunum Fm G G F# Fm Geleceğimden değil işte laf olsun Fm G G F# Fm İnkar etmiyorum zaten hep eksik o taraf Fm G G F# Fm Bir balık yok ki suda boğulsun Fm G G F# Fm Evet bence de kesin ararsın Fm G G F# Fm Allah var şimdi sen de çok güzel kızsın Fm G G F# Fm Doğum İstanbul 89 un Kasım Fm G G F# Fm Hem sarışın hem huysuz hem haklı kadın
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Yüzyüzeyken Konuşuruz - Ankara Kapkara Tabs
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Harmony analysis
Yüzyüzeyken Konuşuruz – Ankara Kapkara: key and chord analysis
The song opens on Fm and ends on Fm. 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 Cm is heard 4 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 | 42× |
| bIII | F# | Borrowed from the parallel minorborrowed chord | F# · A# · C# | 21× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 46× |
| 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 | 4× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 4× |
| 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 | 42× |
| #IV | F# | Chromatic colour chordoutside the key | F# · A# · C# | 21× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | 46× |
| 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). 4 different chords appear 113 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 G is V/vi, a secondary dominant heading for Cm. F# is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Fm G Ebii → V/vi Cmiv → Viv → V ×22
- G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×3
- Fm Cm Ebii → vi Cmiv → iminor plagal ×1
The move to watch is Fm → G, heard 22 times. From the Cm side it is iv → V (iv → V: the minor side's tension builder); from the Eb side it reads ii → V/vi. 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 G, land on G, B, D — 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 F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- When G comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.
- On F#, follow the chord's notes (F# · A# · C#) rather than the key's scale — it's a borrowed colour.
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
- 2 semitones up
The song's harmonic story
The opening Fm lays a solid floor for everything that follows. G, Fm, F#, Cm carry the song: V/vi–ii–bIII–vi relative to Eb, V–iv–#IV–i relative to Cm. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Fm → G (ii → V/vi in Eb, iv → V in Cm): iv → V — the minor side's tension builder. It closes on Fm, letting the Eb 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.
Yüzyüzeyken Konuşuruz - Ankara Kapkara 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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