Emre Sertkaya - Sevdanın Yolları - Chord

Key Eb major – C minor Chords Cm, Fm, Bb, Ab, Gm, Eb Easy key G

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Capo 0

Cm                             Fm
Sıcak bir şarkı söylersin kanımdan geç soğur
        Bb           Ab
Kesik saçın dağınık yüzün
           Fm                 Cm
Geceyi sabaha boyar, sevdalanırım

Cm                            Fm
Kuşun eteğini rüzgar havalara uçurur
   Bb                Ab            Fm             Cm
Bu şarkının nakaratında, seninle olmak var ya, ne güzel

Gm                  Fm
Sevdanın yollarında duman duman
Gm                Fm
Takılı bir askıda geçmez zaman
Cm            Bb
Vakit kovalar yaşamları
Ab                     Cm
Yakaladığında, sırılsıklam

Gm  Fm  Gm  Fm  Cm  Bb  Ab  Cm

Cm                          Fm      Eb
Durgun bir suyun ortasında yemyeşil
     Bb     Ab       Fm                  Cm
Yalnız çaresiz kimsesiz olmak var ya, ne zor

Cm                            Fm             Eb
Sıcak bir şarkı söylersin tenimden geç soğur
         Bb           Ab
Kesik dalın dağınık gücün
           Fm                 Cm
Geceyi sabaha boyar, sevdalanırım

End of song Play again?

Emre Sertkaya - Sevdanın Yolları Tabs

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Harmony analysis

Emre Sertkaya – Sevdanın Yolları: 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)

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 12 times against 2 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	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	12×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	4×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	6×
V	Bb	Dominant — strongest pull home	Bb · D · F	6×
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	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	12×
v	Gm	Minor dominant — soft pull	G · Bb · D	4×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	6×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	6×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 42 times in total; 6 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

Fm Cm Ebii → vi Cmiv → iminor plagal ×6
Fm Bb Ebii → Vii → V Cmiv → VII ×2
Ab Cm EbIV → vi CmVI → iVI → i ×2

The move to watch is Fm → Cm, heard 6 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → 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 Bb, land on Bb, D, F — 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

Starting on Cm, the song gives away its key from the very first bar. The backbone is Cm, Fm, Bb, Ab — vi–ii–V–IV from the Eb side, i–iv–VII–VI from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. 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.