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)
Serpil Sarı - Dostun Gül Cemalin - Chord
Key Eb major – C minor Chords Bb, Cm, Ab, Fm, Db, Eb Easy key G
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Key: Eb | Cm
Capo: 0
Fm Db Eb Bb Ab Bb Ab Cm Cm Fm Db Fm Dostun gül cemali, cennettir bana Eb Bb Cm Bb Ne çare ayrılık zamanı geldi Ab Cm Zamanı geldi Fm Db Eb Bb İstemem ayrılmak senden sultanım Ab Bb Ab Cm Ne çare ayrılık zamanı geldi Fm Db Eb Bb Ab Bb Ab Cm Cm Fm Db Fm İstemem ayrılmak senden sultanım Eb Bb Cm Bb Gül cemale aşkın ile nalanım Ab Cm He yar nalanım Fm Db Eb Bb Çıkarma gönülden dinim imanım Ab Bb Ab Cm Ne çare ayrılık zamanı geldi Cm Fm Db Fm Kul fakirim aşık aşka yanandır Eb Bb Cm Bb Hak erenler birbirinden kanandır Ab Cm He yar kanandır Fm Db Eb Bb yare doymak olmaz doyan erkandır Ab Bb Ab Cm Ne çare ayrılık zamanı geldi
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Serpil Sarı - Dostun Gül Cemalin Tabs
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Harmony analysis
Serpil Sarı – Dostun Gül Cemalin: key and chord analysis
The song opens on Fm 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 comes to rest on Cm and Cm is heard 14 times against 8 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 | 8× |
| 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 | 13× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 16× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 14× |
| bVII | Db | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Db · F · Ab | 8× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 14× |
| bII | Db | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Db · F · Ab | 8× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 8× |
| 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 | 13× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 16× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 70 times in total; 5 of them sit naturally inside the shared scale. Db is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Ab Cm EbIV → vi CmVI → iVI → i ×8
- Db Eb EbbVII → IbVII → I CmbII → III ×5
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×5
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
The move to watch is Ab → Cm, heard 8 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 Bb, land on Bb, D, F — 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 Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- On Db, follow the chord's notes (Db · F · Ab) rather than the key's scale — it's a borrowed colour.
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
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. The backbone is Bb, Cm, Ab, Fm — V–vi–IV–ii from the Eb side, VII–i–VI–iv from the Cm side. Db briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). 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 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.
Serpil Sarı - Dostun Gül Cemalin 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: Kul FakirMusic: Hacı Bayrak
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