Tuğkan - Ayrılık - Yeni - Chord

Key Eb major – C minor Chords Eb, Ab, Bb, Cm, Gm, Em, C, G Easy key C (capo 3)

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Capo 0

Em  Em  C  C  G  G  Ab  Bb

Eb
Şimdi sen gidiyorsun
     Cm                      Gm
Yanında, benim en iyi halimlee
                            Ab
Şimdi sen, uzaklarda bir yerlerde
       Bb         Eb
Gülüşümü gömüyorsuun

Eb
Şimdi sen ölüyorsun
      Cm
İçimde hatırladığım
                 Gm
Her şeyle birlikte

Hayatın acımasız kapılarından
    Ab        Bb
Birine öyleceee giriyorsun

Eb       Cm
 Ayrılık, ayrılık
Ab            Bb
 Ayrılık ne yaman, ne dertli
 
Eb       Cm
 Ayrılık, ayrılık
Gm              Ab
 Ayrılık ne çok yordu kalbimi
        Bb         Eb
 Bir bilsen, ayrılııık

Eb     Cm
 Ayrılııık, unutulmaz
Gm
 Unutulmaz hiçbir şey
Ab           Bb     Eb
 Hiçbir şey, hiçbir şey

End of song Play again?

Tuğkan - Ayrılık - Yeni Tabs

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Harmony analysis

Tuğkan – Ayrılık - Yeni: key and chord analysis

The song opens on Em and ends on Eb. 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)
#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 Eb major side because it comes to rest on Eb, Eb is heard 8 times against 5 for Cm and the major V chord points straight at 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	8×
bii	Em	Chromatic colour chordoutside the key	E · G · B	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	4×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	2×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	6×
V	Bb	Dominant — strongest pull home	Bb · D · F	6×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	5×
VI	C	Chromatic colour chordoutside the key	C · E · G	2×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	5×
I	C	Chromatic colour chordoutside the key	C · E · G	2×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	8×
#iii	Em	Chromatic colour chordoutside the key	E · G · B	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
v	Gm	Minor dominant — soft pull	G · Bb · D	4×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	2×
VI	Ab	Submediant — warm colour	Ab · C · Eb	6×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	6×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 35 times in total; 5 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. Em, C step outside the scale as colour chords.

Chord movement

Bb Eb EbV → Iauthentic cadence CmVII → III ×6
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×6

The move to watch is Bb → Eb, heard 6 times. From the Eb side it reads V → I (authentic cadence: the strongest arrival home); from the Cm side it is VII → III. 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — 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.

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 Em lays a solid floor for everything that follows. The chords that keep coming back are Eb, Ab, Bb, Cm; read them as I–IV–V–vi in Eb or III–VI–VII–i in 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 Bb → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. The final chord is Eb; 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.