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)
Erol Evgin - Söyle Canım (Aşkın Nur Yengi) - Chord
Key Eb major – C minor Chords Am, E, Dm, C Difficulty already in its easiest key
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Key: Eb | Cm
Capo: 0
Am E
Kah orada, kah burada
Am
Geçti günler mevsimler
E
Nerde akşam orda sabah
Am
Gezdim durdum derbeder
Dm Am E Am
Senden önce hiçbir şeyin kıymetini bilmeden
Dm Am E C Am
Senden önce hiç kimseyi böylesine sevmeden
Am
Bir tanem söyle canım ne istersen iste benden
Dm
İstersen geçsin hayat bayramlarla seyranlarla
Am
İstersen gelsin bahar sümbüllerle salkımlarla
E
İstersen dönsün Dünya cümbüşlerle çalgılarla.
Am
Bir tanem söyle canım ne dilersen dile benden
Dm
İstersen dost olalım göklerdeki turnalarla
Am
İstersen evlenelim davullarla zurnalarla
E
İstersen çınlatalım dört bir yanı şarkılarla
Am E Am
Yer yüzünden gökyüzünden benliğimden bir haber
Am E Am
Nerde akşam orda sabah gezdim durdum derbeder
Dm Am E Am
Senden önce hiçbir şeyin kıymetini bilmeden
Dm Am E C Am
Senden önce hiç kimseyi böylesine sevmeden
End of song Play again?
Erol Evgin - Söyle Canım (Aşkın Nur Yengi) Tabs
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Harmony analysis
Erol Evgin – Söyle Canım (Aşkın Nur Yengi): key and chord analysis
The song opens on Am and ends on Am. 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: we can't honestly pick a side here — the song moves freely between Eb major and C minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| bII | E | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | E · G# · B | 10× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| 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 | — |
| #iv | Am | Chromatic colour chordoutside the key | A · C · E | 19× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | — |
| VI | C | Chromatic colour chordoutside the key | C · E · G | 2× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| vii | Dm | Chromatic colour chordoutside the key | D · F · A | 6× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | — |
| I | C | Chromatic colour chordoutside the key | C · E · G | 2× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| ii | Dm | Chromatic colour chordoutside the key | D · F · A | 6× |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| #III | E | Chromatic colour chordoutside the key | E · G# · B | 10× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| 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 | — |
| #vi | Am | Chromatic colour chordoutside the key | A · C · E | 19× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 37 times in total; 0 of them sit naturally inside the shared scale. E is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- On E, follow the chord's notes (E · G# · B) rather than the key's scale — it's a borrowed colour.
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
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Am lays a solid floor for everything that follows. The backbone is Am, E, Dm, C — #iv–bII–vii–VI from the Eb side, #vi–#III–ii–I from the Cm side. E briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. The final chord is Am; 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.
Erol Evgin - Söyle Canım (Aşkın Nur Yengi) 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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