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)
İlyas Yalçıntaş - Seni Bana Sor Şimdi - Chord
Key Eb major – C minor Chords Gm, Fm, Bb, Cm, Ab Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Gm Fm
Bak bana son bir kez
Gm Fm
Yık geçmişi unut geç
Cm Gm Bb
Sar beni son birkez
Ab Bb Gm
Kal yanımda son bir nefes
Gm Fm
Bak yine son yağmuruz
Gm Fm
Son güneş son fırtına
Cm Gm Bb
Tut elimi bırakma
Ab Bb Gm
Ölümsüz rüzgarlara
Cm Gm
Seni bana sor şimdi
Ab
Canımı yakan kimdi
Cm Gm
Gecelere sor şimdi
Bb Fm Gm
Bizi bırakıp gitti
Gm Fm
Gel bana son birkez
Gm Fm
Yık geçmişi unut geç
Cm Gm Bb
Gül bana son birkez
Ab Bb Gm
Kal yanımda son bir nefes
End of song Play again?
İlyas Yalçıntaş - Seni Bana Sor Şimdi Tabs
NotesX
Harmony analysis
İlyas Yalçıntaş – Seni Bana Sor Şimdi: key and chord analysis
The song opens on Gm and ends on Gm. 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 Cm is heard 5 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 | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 7× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 15× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 4× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 7× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 5× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 5× |
| 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 | 7× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 15× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 4× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 7× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 38 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
- Fm Cm Ebii → vi Cmiv → iminor plagal ×3
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×3
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×1
- Ab Cm EbIV → vi CmVI → iVI → i ×1
The move to watch is Fm → Cm, heard 3 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → 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 Gm, land on G, Bb, 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 Bb, land on Bb, D, F — 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
Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, Fm, Bb, Cm; read them as iii–ii–V–vi in Eb or v–iv–VII–i in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. The final chord is Gm; 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.
İlyas Yalçıntaş - Seni Bana Sor Şimdi 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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