Pinhani - O Zaman da Sonbahardı - Chord

Key Eb major – C minor Chords Bb, Eb, Fm, Cm, Bb/D, Ab Easy key G

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Eb           
Çok mu belli ettim, aslında söylicektim
   Fm                   Bb
Baştan bi şansımız olsaydı
Eb      
Sevmek en güzel şey, masmavi oldu her şey
   Fm                   Bb
Ah bir de vaktimiz olsaydı

Fm                    Bb           Eb          Bb/D     Cm
Başka türlü bir yalnızlık ağlarken yaşlı gözlerimden sızmış
Fm                    Bb             Eb         Bb/D    Cm
En çok özleyenler bizdik, böyleyken mutlu olmak imkansızmış

    Ab
O zaman da sonbahardı
    Bb
Bir sevgilin mi vardı
   Eb
Derken hava karardı
    Cm
Çok ters de bir zamandı

    Ab
O kadar da gizli kalmışken 
Bb
İçimden boşaldı
   Eb
Beklenmeyen bir andı
  Cm                   Fm
Olduğum yerde kaybolmuştum


Fm   Bb   Eb          Bb/D     Cm
        Olduğum yerde kaybolmuştum
		
Fm  Bb  Eb  Bb/D  Cm  Bb

End of song Play again?

Pinhani - O Zaman da Sonbahardı Tabs

NotesX

Harmony analysis

Pinhani – O Zaman da Sonbahardı: key and chord analysis

The song opens on Eb and ends on Bb. 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 Eb major side because it opens on Eb and Eb is heard 8 times against 6 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	8×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	7×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	2×
V	Bb	Dominant — strongest pull home	Bb · D · F	9×
V	Bb/D	Dominant — strongest pull home	Bb · D · F	4×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	6×
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	6×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	8×
iv	Fm	Subdominant — moves away from home	F · Ab · C	7×
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	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	2×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	9×
VII	Bb/D	Subtonic — steps back to the tonic	Bb · D · F	4×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 36 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

Bb Eb EbV → Iauthentic cadence CmVII → III ×7
Fm Bb Ebii → Vii → V Cmiv → VII ×6
Bb/D Cm EbV → videceptive cadence CmVII → iAeolian arrival ×4
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×2

The move to watch is Bb → Eb, heard 7 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — 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.

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

4 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening Eb lays a solid floor for everything that follows. The backbone is Bb, Eb, Fm, Cm — V–I–ii–vi from the Eb side, VII–III–iv–i from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. It closes on Bb, 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.