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)
Feride Hilal Akın - Sana Saklandı Ruhum (Hakan Tunçbilek) - Chord
Key Eb major – C minor Chords Bb, Ab, Cm, Fm, Eb, Gm Easy key G
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Key: Eb | Cm
Capo: 0
Ab
Yeniliyorum her gün, senin hatrına sürgün bu ev
Cm Ab
Katlanıyorum hala buna
Ab
Yeniliyorum sonra, yepyeni bir umutla içimi
Eb Gm
Göze alabilecek miyiz sence her şeyi
Cm Bb Fm Ab Bb
Bu yerler bu insanlar bana yabancı, biliyorsun
Cm Bb Fm Ab Bb
Sana saklandı ruhum, beni bırakma, ne olursun
Cm Bb
Bize karşı dursalar da
Cm Bb
Kalbimize vursalar da
Fm Bb
İftira atsalar da
Ab Bb
Yanımda dursun kalbin
End of song Play again?
Feride Hilal Akın - Sana Saklandı Ruhum (Hakan Tunçbilek) Tabs
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Harmony analysis
Feride Hilal Akın – Sana Saklandı Ruhum (Hakan Tunçbilek): key and chord analysis
The song opens on Ab 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 Cm is heard 5 times against 1 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 | 1× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 3× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 1× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 6× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 8× |
| 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 | 1× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 3× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 1× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 6× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 8× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 24 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 Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×3
- Ab Eb EbIV → Iplagal cadence CmVI → III ×1
- Ab Cm EbIV → vi CmVI → iVI → i ×1
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×1
- Fm Bb Ebii → Vii → V Cmiv → VII ×1
The move to watch is Bb → Cm, heard 3 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 Ab, land on Ab, C, Eb — 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.
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 first chord is Ab; the ear learns where home is within a second. Bb, Ab, Cm, Fm carry the song: V–IV–vi–ii relative to Eb, VII–VI–i–iv relative to Cm. 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. Ending on Bb, the song seals Eb as home.
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.
Feride Hilal Akın - Sana Saklandı Ruhum (Hakan Tunçbilek) 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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