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)
Atiye - Yetmez (İskender Paydaş) - Chord
Key Eb major – C minor Chords Cm, Eb, Fm, G7 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Giderek acı vermez Eb Alışır hissetmez Fm Yüreğin yorgun yolun uzun G7 Yaşlı düşlerin Cm Uyuşurken için Eb Tutuşur her hayalin Fm Büyümek derler deler geçer G7 Yıllara gücün yeter mi Cm Yetmez canını yakarlar Eb Yetmez dahası var Fm Dört başı mamur asil vakur G7 Onlardan ol seni alkışlarlar Cm Yetmez seni yakalarlar Eb yetmez kanadını koparırlar Fm öylece dur inatçı gurur G7 Cm Eb aslında bu işte bir yalnızlık var Fm Öylece dur yalancı huzur G7 Cm Eb Aslında bu işte bir yalnızlık var Fm Öylece dur inatçı vurur G7 Aslında bu işte bir yalnızlık var Cm Bir ağaç kadar hürsün Eb Toprağına sürgün Fm Yarına kırgın düne yakın G7 Paslı sözlerin Cm Kalbine tutkunsan Eb Sana mecnun derler Fm Sevmeyi sorsan ne bilirler G7 Hasrete ömrün yeter mi
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Atiye - Yetmez (İskender Paydaş) Tabs
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Harmony analysis
Atiye – Yetmez (İskender Paydaş): key and chord analysis
The song opens on Cm and ends on G7. 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)
- #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 opens on Cm 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | 8× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 8× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V7/vi | G7 | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D · F | 8× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | — |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 8× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 8× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 8× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 8× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V7 | G7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D · F | 8× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | — |
| 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 32 times in total; 3 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 G7 is V7/vi, a secondary dominant heading for Cm.
Chord movement
- Fm G7 Ebii → V7/vi Cmiv → V7iv → V ×8
- G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×7
The move to watch is Fm → G7, heard 8 times. From the Cm side it is iv → V7 (iv → V: the minor side's tension builder); from the Eb side it reads ii → V7/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 Eb, land on Eb, G, Bb — 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.
- When G7 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 opening Cm lays a solid floor for everything that follows. Cm, Eb, Fm, G7 carry the song: vi–I–ii–V7/vi relative to Eb, i–III–iv–V7 relative to Cm. G7 is the interesting twist: in Eb it is a chromatic chord (V7/vi), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Fm → G7 (ii → V7/vi in Eb, iv → V7 in Cm): iv → V — the minor side's tension builder. It closes on G7, letting the Eb side have the last word.
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.
Atiye - Yetmez (İskender Paydaş) 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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