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)
Key Eb major – C minor Chords G, Ab, Cm, Eb, Fm, Gm, G5, F5 … Easy key C (capo 3)
Ab G Cm Cm
Fm Eb Gm Cm
Sokaklar boşalmış, ışıklar şimdi loş
Fm Eb Gm G5 F5 Eb5 D5
Sadece ben miyim ki sarhoş
Ab Bb G Cm
İnsanlar şaşırmış, herkes bir şey arıyor
Fm Eb G
Buldum diyenler bile, yanıyor
Fm
Söyle bir kez olsun
Eb G
Kimlere döndün de, kimlere durdun
Ab G Cm
Ulan dünyaa adaletin yok mu
Ab G Cm
Yalan dünyaa yeter be çok yordun
Ab G Cm
Ulan dünyaa hiç insafın yok mu
Ab G Cm
Dönmüyor kimsee hep giden yolcu
Fm Eb Gm Cm
Hayatlar yaşandı, bir yerlerde buluştuk
Fm Eb G G5 F5 Eb5 D5
Zamanlar paylaşıldı, hep konuştuk
Ab Bb G Cm
Onlar gitti sonra, hiç bir şey söylemeden
Fm Eb G
Bak kaldık burada yine senle ben
Fm Eb
Söyle neden iyiler bu kadar çabuk gider
G
Dur da cevap ver
Ab G Cm
Ulan dünyaa adaletin yok mu
Ab G Cm
Yalan dünyaa yeter be çok yordun
Ab G Cm
Ulan dünyaa hiç insafın yok mu
Ab Fm Cm
Dönmüyor kimsee hep giden yolcu
Ab
Biliyorum her gün peşimdesin, Azrail gibi tetiktesin
Eb
İyiler kazanır demişti annem, sen o masalları bilir misin
Ab
Rekabet değil yaşamda temel, elimde değil, önümde kader
Eb
Yaşamak için ödersin bedel, kara bir sayfa yazar, çizer
G
Anlamıyorlar, konuşuyorlar, ellerim bağlı, sormuyorlar
Ab
Sırtımda yer yok, doymuyorlar, inan, başar, konuşuyorlar
Eb
Siyah ve beyaz, bugün ve yarın, kafamda poyraz sorular baskın
G
Her gün bela ve her gün vukuat, sokaklar acımaz taksan da kravat
Ab G
Düşüyor beyazlar her gün saçıma, hayallerimse kaldırım taşına
Cm
Meçhulüm artık anlamsız öçler, unutalım artık kalmadı düşler
Ab G
Bir kuş gibiyim gördüm her şeyi, yalanmış hepsi, tanıdım herkesi
Cm
Sevdim, suçum olsun dünyada, adalet bugün sade rüya
Ab G Cm
Ulan dünyaa adaletin yok mu
Ab G Cm
Yalan dünyaa yeter be çok yordun
Ab G Cm
Ulan dünyaa hiç insafın yok mu
Ab Fm Cm
Dönmüyor kimsee hep giden yolcu
End of song Play again?
Harmony analysis
The song opens on Ab and ends on Cm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because it comes to rest on Cm, Cm is heard 20 times against 13 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.
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 | 11× |
| I | Eb5 | Tonic — home | Eb · Bb | 2× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 10× |
| II | F5 | Supertonic — prepares the dominant | F · C | 2× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 3× |
| III | G5 | Mediant — a tonic-family shade | G · D | 2× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 22× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 20× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 2× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 20× |
| VII | D5 | Leading-tone chord — tension | D · A | 2× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 20× |
| II | D5 | Supertonic — prepares the dominant | D · A | 2× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 11× |
| III | Eb5 | Relative major — the bright side | Eb · Bb | 2× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 10× |
| IV | F5 | Subdominant — moves away from home | F · C | 2× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 3× |
| V | G5 | Minor dominant — soft pull | G · D | 2× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | 22× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 20× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 2× |
The key pair is Eb major and its relative C minor (3 flats). 11 different chords appear 96 times in total; 10 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.
The move to watch is G → Cm, heard 15 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.
Empty slices are chords the song doesn't use.
The opening Ab lays a solid floor for everything that follows. The backbone is G, Ab, Cm, Eb — V/vi–IV–vi–I from the Eb side, V–VI–i–III from the Cm side. 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. 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.
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.
Ready-made lists by difficulty and mood.
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