Ravi İncigöz - Yapamam - Chord

Key Eb major – C minor Chords G#, Bb, Gm, Cm, Fm, D#, Am, D Easy key C (capo 3)

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Capo 0

Cm  Bb  D#  G#

Bb           Am
Gitmediğimiz yer kaldı mı
Bb         G#
Yapmadığımız bir şey
Gm           D        Gm
Nereye gitsek hatıralar
          G#
Anılar çantamızda

Cm       Gm
Vakit tamam gidiyorsun
G#      Bb
Anladım her şeyi
Cm          Gm
Lütfen isteme bunu benden
G#
Kırıyorsun kalbimi
 
Cm    G#
Sanki hiç olmamış gibi
Bb         Gm
Hiçbir şey yaşamamış gibi
G#       Fm        
Seni hiç tanımamış gibi
Bb      Gm
Yapamam

Cm           G#
Elini elimde ısıtmamış gibi
Bb           Gm
Gözlerimizle konuşmamış gibi
G#          Fm      Bb     Gm
Gidişlerine ağlamamış gibi

Cm             G#
Gün doğana dek sevişmemiş gibi
Bb           Gm
Koynuna alıp uyutmamış gibi
G#           Fm        Bb     Gm
En mahremini paylaşmamış gibi
Cm   G#  Bb   Gm
Yapamam, yapamam

Cm  G#  Bb  Gm  G#  Fm  Bb  Gm

End of song Play again?

Ravi İncigöz - Yapamam Tabs

NotesX

Harmony analysis

Ravi İncigöz – Yapamam: key and chord analysis

The song opens on Cm 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 it opens on Cm and Cm is heard 8 times against 1 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	D#	Tonic — home	D# · G · A#	1×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	4×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	13×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	G#	Subdominant — moves away from home	G# · B# · D#	14×
#iv	Am	Chromatic colour chordoutside the key	A · C · E	1×
V	Bb	Dominant — strongest pull home	Bb · D · F	13×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	8×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
V/iii	D	Secondary dominant V/iii — leads to Gmsecondary dominant	D · F# · A	1×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	8×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
V/v	D	Secondary dominant V/v — leads to Gmsecondary dominant	D · F# · A	1×
III	D#	Relative major — the bright side	D# · G · A#	1×
iv	Fm	Subdominant — moves away from home	F · Ab · C	4×
v	Gm	Minor dominant — soft pull	G · Bb · D	13×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	G#	Submediant — warm colour	G# · B# · D#	14×
#vi	Am	Chromatic colour chordoutside the key	A · C · E	1×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	13×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 55 times in total; 6 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

G# Bb EbIV → VIV → V CmVI → VIIVI → VII ×7
Fm Bb Ebii → Vii → V Cmiv → VII ×4
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×4
G# Cm EbIV → vi CmVI → iVI → i ×2
Bb D# EbV → Iauthentic cadence CmVII → III ×1
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1

The move to watch is G# → Bb, heard 7 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 G#, land on G#, B#, D# — 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 Gm, land on G, Bb, 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

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. The backbone is G#, Bb, Gm, Cm — IV–V–iii–vi from the Eb side, VI–VII–v–i from the Cm side. D adds a moment of surprise: secondary dominant V/iii — leads to Gm. Keep an ear on G# → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. It closes on Gm, 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.