Yalın - Bir Bakmışsın - Chord

Key Eb major – C minor Chords Cm, Fm, G, Bb, Eb, Ab7 Easy key C (capo 3)

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Capo 0

Cm
Eski fotoğraflar, mutlu gülen iki yüz
Bb                      G
Merdivende sarılmışız, hiç bırakmayacak gibi
Cm
Adım adım eksildik, nedenini ben anlamadım
Bb                     Fm          G           Cm
Sormaya korkar oldum, yıllandık diye mi yıprandık
Fm             G       Cm
Yaşlandık diye mi paslandık

Fm                Bb              Eb         Ab7
Güvenme bu kadar aşkıma hiç öyle sağlam da değilsin
Fm              G         Ab7          Fm          G
Titrerim kendi üstüme benden değerli değilsin, değilsin

Cm              Fm         Bb       Eb
Bi bakmışın ben yokmuşum, üzülmeye doymuşum
Cm         Fm           G                 Cm
İsyanımı yola koyup hayatından kaybolmuşum

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Harmony analysis

Yalın – Bir Bakmışsın: key and chord analysis

The song opens on Cm and ends on Cm. 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)
#7 = B (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because it both starts and finishes on Cm, Cm is heard 7 times against 2 for Eb and the major V chord points straight at Cm. 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	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	7×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	6×
IV7	Ab7	Chromatic colour chordoutside the key	Ab · C · Eb · Gb	2×
V	Bb	Dominant — strongest pull home	Bb · D · F	4×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	7×
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	7×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	7×
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	6×
VI7	Ab7	Chromatic colour chordoutside the key	Ab · C · Eb · Gb	2×
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). 6 different chords appear 28 times in total; 4 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm. Ab7 step outside the scale as colour chords.

Chord movement

G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×5
Fm G Ebii → V/vi Cmiv → Viv → V ×5
Bb Eb EbV → Iauthentic cadence CmVII → III ×2
Fm Bb Ebii → Vii → V Cmiv → VII ×2

The move to watch is G → Cm, heard 5 times. From the Cm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V/vi → 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 Cm, land on C, Eb, G — 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
When G comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.

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

The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Cm, Fm, G, Bb; read them as vi–ii–V/vi–V in Eb or i–iv–V–VII in Cm. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G → Cm (V/vi → vi in Eb, V → i in Cm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Cm; the ear comes to rest in Cm.

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.