İdo Tatlıses - Buluşacaktık - Chord

Key Eb major – C minor Chords Cm, Bb, Ab, Eb, Fm Easy key G

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Capo 0

Cm      Bb       Ab
Huzurlu düşünmek istiyorum her şeyi
Bb              Cm
Yalana karşıyım gerçeğe aşık

Cm       Bb       Ab
Buluttan da nem kapıyorsun
Bb                  Cm
Yokken de sorun yaratıyorsun

Cm      Bb        Ab
Huzurlu düşünmek istiyorum her şeyi
Cm       Bb       Ab
Varsayım üzerine yaşamaya karşıyım
Eb               Cm        Bb
Her şeyler ortada ben neyi bağışlıyayım
Cm      Bb       Cm
Kendime karşıyım ya

Cm    Ab    Eb             Ab
Ooofff ooff benimle mi yarışacaktın

Cm        Bb         Ab
Her şeyim sensin demedin mi
       Bb          Ab
Zırvaladın mı, buluşacaktık

Cm
Çok kurcaladın
Ab
Gereksiz kurcaladın
Cm
Ayılmayı denedim
Ab  Cm
Nafile

Cm
Hep seni dinledim
Fm
Hiç kendimi duyamadım
Cm
Mutluluğu denedim ya bide

Cm
Çok mantıklı değilse

Saçmalık anımsa
Bb              Ab
Ödüm patlar severse ya ya
Cm
Hep seni dinledim
Fm
Hiç kendimi duyamadım
Cm                Bb    Cm
Mutluluğu denedim ya bi de

End of song Play again?

İdo Tatlıses - Buluşacaktık Tabs

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Harmony analysis

İdo Tatlıses – Buluşacaktık: 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 2 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	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	2×
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	11×
V	Bb	Dominant — strongest pull home	Bb · D · F	12×
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	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	2×
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	11×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	12×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 47 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

Ab Cm EbIV → vi CmVI → iVI → i ×6
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×5
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×3
Ab Eb EbIV → Iplagal cadence CmVI → III ×2
Fm Cm Ebii → vi Cmiv → iminor plagal ×2

The move to watch is Ab → Cm, heard 6 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 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 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

4 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening Cm lays a solid floor for everything that follows. The backbone is Cm, Bb, Ab, Eb — vi–V–IV–I from the Eb side, i–VII–VI–III 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 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.

İdo Tatlıses - Buluşacaktık 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: Ahiyan

Music: Ahiyan

Arrangement: Osman Çetin

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