Resul Dindar - Yakma Yanarsın - Chord

Key Eb major – C minor Chords Gm, Cm, F, Bb, Eb Easy key C (capo 3)

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Capo 0

Gm              Cm
Yakma yanarsın beni ararsın
Gm              Cm
Yakma yanarsın beni ararsın
Cm              F      Gm
Beni soldurdun sen de solarsın
Cm              F      Gm
Beni soldurdun sen de solarsın

Cm               Bb
Bir heves uğruna ateşe attın
F                Eb       Gm
Sevda çöllerinde yalnız bıraktın
Cm                  Bb
Yaktın zalim beni, beni de yaktın
F                Eb      Gm
Kül gibi ellere savurdun attın

Cm                Bb
Bir heves uğruna ateşe attın
F                 Eb       Gm
Sevda çöllerinde yalnız bıraktın
Cm                 Bb
Yaktın zalim beni, beni de yaktın
F                 Eb        Gm
Kül gibi ellere beni sen attın

Gm                 Cm
Sevmek bu mudur, sevilmek bu mu
Gm                 Cm
Sevmek bu mudur, sevilmek bu mu
Cm              F     Gm
Düşünmedin hiç benim sonumu
Cm              F     Gm
Düşünmedin hiç benim sonumu

End of song Play again?

Resul Dindar - Yakma Yanarsın Tabs

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Harmony analysis

Resul Dindar – Yakma Yanarsın: 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.

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 C minor side because Cm is heard 12 times against 4 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	4×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
V/V	F	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C	8×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	12×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	4×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	12×
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	12×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	4×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	8×
v	Gm	Minor dominant — soft pull	G · Bb · D	12×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	4×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 40 times in total; 4 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×10

The move to watch is Gm → Cm, heard 10 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over F, land on F, A, 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

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

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. The backbone is Gm, Cm, F, Bb — iii–vi–V/V–V from the Eb side, v–i–IV–VII from the Cm side. F adds a moment of surprise: secondary dominant V/V — leads to Bb. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. Ending on Gm, 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.