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)
Ali Baran - Ben Sana Yandım - Chord
Key Eb major – C minor Chords Cm, Bb, G#, Fm Easy key G
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Key: Eb | Cm
Capo: 0
Cm Bir fidanım sevgilim Cm Rüzgarınla devirme Cm Bb Sen umudum yarınım G# Bb Beni el gibi görme Cm Hatasız ve günahsız Cm Bir aşkla sevdim seni Cm Bb Senden başka birine G# Cm Bu can yarim demedi Cm Fm Ben sana yandım ben sana kandım G# Bb Nasıl sana inandım Fm G# Yalnız seni sevdim yalnız seni bildim Bb Cm Bir tek sana yalvardım
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Ali Baran - Ben Sana Yandım Tabs
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Harmony analysis
Ali Baran – Ben Sana Yandım: 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.
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 both starts and finishes on Cm and Cm is heard 9 times while Eb never appears. 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 | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 2× |
| 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 | G# | Subdominant — moves away from home | G# · B# · D# | 4× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 5× |
| 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 | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 2× |
| 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 | G# | Submediant — warm colour | G# · B# · D# | 4× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 5× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 20 times in total; 4 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
- G# Bb EbIV → VIV → V CmVI → VIIVI → VII ×3
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2
- G# Cm EbIV → vi CmVI → iVI → i ×1
The move to watch is G# → Bb, heard 3 times. From the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IV → V (IV → V: the lift that builds tension before home). 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 Bb, land on Bb, D, F — 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.
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 Cm, Bb, G#, Fm — vi–V–IV–ii from the Eb side, i–VII–VI–iv from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G# → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. Ending on Cm, the song seals Cm 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.
Ali Baran - Ben Sana Yandım 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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