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)
Xece Herdem - Yine Sen - Chord
Key Eb major – C minor Chords Eb, Cm, Fm, Bb, Ab Easy key G
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Key: Eb | Cm
Capo: 0
Cm Eb Fm Bb
Gönlümdeki sevdam tam bitti derken
Eb Ab Cm
Yine sen yine sen düştün aklıma
Eb Fm Bb
Kalbimdeki yara ey oldu derken
Eb Ab Cm
Yine sen yine sen düştün aklıma
Cm Eb Fm Bb
Olmuyor olmuyor sensiz olmuyor
Eb Ab Cm
Yine sen yine sen düştün aklıma
Fm
Bitmeyen şu çilem nedendir neden
Eb
Aşk ferman dinlemez bilmem ki neden
Fm Bb
Maziye hayale tam daldım derken
Ab Cm
Yine sen yine sen düştün aklıma
Cm Eb Fm Bb
Ne yapsam ne etsem acım dinmiyor
Eb Ab Cm
Sen gittin gideli yüzüm gülmüyor
Eb Fm Bb
Diyemem derdimi kimse bilmiyor
Eb Ab Cm
Yine sen yine sen düştün aklıma
Cm Eb Fm Bb
Olmuyor olmuyor sensiz olmuyor
Eb Ab Cm
Yine sen yine sen düştün aklıma
Fm
Bitmeyen şu çilem nedendir neden
Eb
Aşk ferman dinlemez bilmem ki neden
Fm Bb
Maziye hayale tam daldım derken
Ab Cm
Yine sen yine sen düştün aklıma
Cm Eb Fm Bb
Olmuyor olmuyor sensiz olmuyor
Eb Ab Cm
Yine sen yine sen düştün aklıma
End of song Play again?
Xece Herdem - Yine Sen Tabs
NotesX
Harmony analysis
Xece Herdem – Yine Sen: 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.
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 Eb is heard 16 times against 14 for 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 | 16× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 11× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 9× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 9× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 14× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 14× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 16× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 11× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 9× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 9× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 59 times in total; 5 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 Bb Ebii → Vii → V Cmiv → VII ×9
- Ab Cm EbIV → vi CmVI → iVI → i ×9
- Bb Eb EbV → Iauthentic cadence CmVII → III ×7
The move to watch is Fm → Bb, heard 9 times. From the Cm side it is iv → VII; from the Eb side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- 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.
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
The first chord is Cm; the ear learns where home is within a second. The backbone is Eb, Cm, Fm, Bb — I–vi–ii–V from the Eb side, III–i–iv–VII 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 → Bb (ii → V in Eb, iv → VII in Cm): ii → V — the classic preparation of the dominant. 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.
Xece Herdem - Yine Sen 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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Lyrics: Ergün EfeMusic: Kenan Çallı
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