Efkan Şeşen - Yürekte Yaralar Türlü Türlü - Chord

Key Eb major – C minor Chords Cm, Bb, Eb, Fm, Gm, F Easy key C (capo 3)

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Capo 0

Cm  Fm  Fm  Cm  Eb  Eb  Bb  Gm  Gm  Cm  Bb  Cm

Cm         Bb        Cm
Gönül niçin ahvalimi bilmezsin
          Bb       Fm    Cm
Yürekte yaralar türlü türlüdür
                      Bb       F  Eb  Fm
Öğüt versem öğüdüm dinlemezsin oy oy  oy
                   Eb
Yürekte yaralar türlü türlü
   Bb               Eb   Cm
Türlü türlü, türlü türlü oy

Cm                   Fm
Esme zülüflerin yellere karşı
                       Cm
Bülbül figan eder güllere karşı
Eb                   Bb
Gel ağlatma beni ellere karşı
Gm                 Cm      Bb         Cm
Yürekte yaralar türlü türlü, türlü türlü

Cm          Bb         Cm
Ah n'eyleyim karşımızda ölüm var
          Bb       Fm     Cm
Ölüm dedikleri kanlı zalim var
                   Bb           F  Eb  Fm
Ne ağlayıp ne gülecek halim var oy oy  oy
                   Eb
Yürekte yaralar türlü türlü
   Bb               Eb   Cm
Türlü türlü, türlü türlü oy

Cm                         Fm
Pir Sultan Abdal'ım ben de böyleyim
                        Cm
Emir Hak'tan geldi kime neyleyim
Eb                        Bb
Derdim çoktur hangi birin söyleyeyim
Gm                 Cm      Bb         Cm
Yürekte yaralar türlü türlü, türlü türlü

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Harmony analysis

Efkan Şeşen – Yürekte Yaralar Türlü Türlü: 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 20 times against 10 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	10×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	8×
V/V	F	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C	2×
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	—
V	Bb	Dominant — strongest pull home	Bb · D · F	14×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	20×
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	20×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	10×
iv	Fm	Subdominant — moves away from home	F · Ab · C	8×
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	2×
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	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	14×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 58 times in total; 5 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Fm Cm Ebii → vi Cmiv → iminor plagal ×5
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×5
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3
Bb Eb EbV → Iauthentic cadence CmVII → III ×2

The move to watch is Fm → Cm, heard 5 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 Bb, land on Bb, D, F — 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.

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, Bb, Eb, Fm carry the song: vi–V–I–ii relative to Eb, i–VII–III–iv relative to Cm. F adds a moment of surprise: secondary dominant V/V — leads to Bb. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. It closes on Cm, letting the Cm 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.

Efkan Şeşen - Yürekte Yaralar Türlü Türlü 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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