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)
Aydın Kurtoğlu - Tek - Chord
Key Eb major – C minor Chords Ab, Cm, Gm, Fm, Eb, Am, Bb Easy key G
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Key: Eb | Cm
Capo: 0
Cm Ab Cm Am
Cm Ab
Bir gelsen görürdün halim hiç iyi değil
Cm Ab
Kalır mı yanına kalmasın dilerim
Cm Bb Ab Gm
Sen de unutulacaksın bu hayatta
Fm Gm Ab
Yerime koyduğun bir ben kalacak sanma
Cm Eb Ab
Bir anlıkmış bir yalanmış
Gm
Nasıl da iyi kandırmış
Fm
Kaybetmişiz sayende
Gm
İyi mi böyle
Cm Eb
Ne çok sevdik
Ab
Ne terk ettik
Gm
Ne de arkadaş kalabilidik
Fm
Sanki iki yabancıydık
Tek bedende
Cm Eb Ab Ab
End of song Play again?
Aydın Kurtoğlu - Tek Tabs
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Harmony analysis
Aydın Kurtoğlu – Tek: key and chord analysis
The song opens on Cm and ends on Ab. 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 opens on Cm and Cm is heard 8 times against 3 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | 3× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 3× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 5× |
| 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× |
| #iv | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 1× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 8× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 8× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 3× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 3× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 5× |
| 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× |
| #vi | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 1× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 30 times in total; 6 of them sit naturally inside the shared scale. Am step outside the scale as colour chords.
Chord movement
- Ab Cm EbIV → vi CmVI → iVI → i ×4
- Fm Cm Ebii → vi Cmiv → iminor plagal ×1
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×1
The move to watch is Ab → Cm, heard 4 times. From the Cm side it is VI → i (VI → i: falls a half step into home); from the Eb side it reads IV → 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 Ab, land on Ab, C, Eb — 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 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
- 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 Ab, Cm, Gm, Fm — IV–vi–iii–ii from the Eb side, VI–i–v–iv from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Cm (IV → vi in Eb, VI → i in Cm): VI → i — falls a half step into home. It closes on Ab, 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.
Aydın Kurtoğlu - Tek 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: Melda GürbeyMusic: Zülfi BadalovArrangement: Serkan Balkan
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