Sezen Aksu - Yansın İstanbul - Chord

Key Eb major – C minor Chords Gm, Fm, Ab, Cm, Bb7 Easy key C (capo 3)

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Capo 0

Gm  Gm  Cm  Ab  Ab  Fm  Gm

Gm              Ab
Suyun kıyısında keder kuyusunda
Fm                  Gm
Bitmedi gitti iç iç hatırla hatırla
                Ab
Alacalı ışıklar uzanıyor sahile
Fm               Gm
Akrebi yelkovanı vuruyor tam kalbe

Fm     Bb7  Cm
Ah vefasız, ah kitapsız
Fm
Sende koyup gittin
Gm
Bitmedi ağla ağla

Gm
Yansın İstanbul bu gece
          Cm
Külleri savrulsun
Ab
Seninde o taştan kalbin
Fm            Gm
Cayır cayır kavrulsun

Gm  Gm  Cm  Ab  Ab  Fm  Gm

Gm                       Ab
Şişenin dibinde sebebi derinde
Fm               Gm
Elim kolum bağlı olmasa ne fayda
                         Ab
Ne birinci sayfa ne sevdalı tayfa
Fm
Hiç umut yok bu gece
Gm
Geçiriniz kayda

Fm     Bb7  Cm
Ah vefasız, ah kitapsız
Fm
Sende koyup gittin
Gm
Bitmedi ağla ağla

Gm
Yansın İstanbul bu gece
          Cm
Külleri savrulsun
Ab
Seninde o taştan kalbin
Fm            Gm
Cayır cayır kavrulsun

End of song Play again?

Sezen Aksu - Yansın İstanbul Tabs

NotesX

Harmony analysis

Sezen Aksu – Yansın İstanbul: key and chord analysis

The song opens on Gm and ends on Gm. 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 Cm is heard 6 times while Eb never appears. 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	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	12×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	18×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	10×
V7	Bb7	Dominant — strongest pull home	Bb · D · F · Ab	2×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	6×
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	6×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	12×
v	Gm	Minor dominant — soft pull	G · Bb · D	18×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	10×
VII7	Bb7	Subtonic — steps back to the tonic	Bb · D · F · Ab	2×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 48 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

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×4
Bb7 Cm EbV7 → videceptive cadence CmVII7 → iAeolian arrival ×2
Fm Bb7 Ebii → V7ii → V Cmiv → VII7 ×2

The move to watch is Gm → Cm, heard 4 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → 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 Gm, land on G, Bb, D — 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.
Over Ab, land on Ab, C, Eb — 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 Gm lays a solid floor for everything that follows. The chords that keep coming back are Gm, Fm, Ab, Cm; read them as iii–ii–IV–vi in Eb or v–iv–VI–i in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. The final chord is Gm; the ear comes to rest in Eb.

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.