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)
Pera - Affet - Chord
Key Eb major – C minor Chords Bb, Cm, Ab, Eb, Fm Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: Eb | Cm
Capo: 0
Cm Eb Ab Bb Cm Eb Ab Bb Eb Cm Bb Koparılmış bir sayfa ve eksik bu hikaye Cm Bb Kayıp gitmiş bir yıldız kim bilir nerelerde Cm Bb Mektuplar ulaşmaz durmaz ki yerinde Fm Ab Bb Rüzgara karşı yanan bir mum gibiyim eriyorum ellerine Cm Eb Unutmam bir kurşun sıksan bile Ab Bb Beyhude vücutlar avutur mu sence Cm Eb Yok olmaz içimdeki bu hasret Ab Bb Yaktınsa bile beni küllerimi affet Cm Bb Yakıp geçti bak bir yangın yaşadığım her anın acısı içimde Cm Bb Bir kanser ya da bir salgın hücrelerimde Fm Ab Bb Bir gün solacağını bilen bir gül gibiyim açıyorum bak yine de Fm Ab Bb Bir gün duracağını bilen bir kalp gibiyim atıyorum bak yine de
End of song Play again?
Pera - Affet Tabs
NotesX
Harmony analysis
Pera – Affet: key and chord analysis
The song opens on Cm and ends on Bb. 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 opens on Cm and Cm is heard 9 times against 5 for Eb. 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 | 5× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 3× |
| 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 | 7× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 12× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 9× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 9× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 5× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 3× |
| 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 | 7× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 12× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 36 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
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×7
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×7
- Bb Eb EbV → Iauthentic cadence CmVII → III ×1
The move to watch is Bb → Cm, heard 7 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). 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 Cm, land on C, Eb, G — 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.
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 Cm lays a solid floor for everything that follows. The backbone is Bb, Cm, Ab, Eb — V–vi–IV–I from the Eb side, VII–i–VI–III 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 → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into 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.
Pera - Affet 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.