Suzan Hacıgarip - Kırdığın Kadar - Chord

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

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Capo 0

Cm              Bb
 Ne aşk sevgilim ne zaman
Fm            Bb
 Bi haber hala varlığımdan
Cm               Bb
 Doymadı maalesef içinde kalan
Fm
 Yol yakınken dön hadi
   Bb
 Hep sendin yorulan

Eb
 Bir ömrü öylece
Bb
 Bir mezara gömünce
Fm
 Ne kalır geriye
Gm
 Boşluk dışında

Cm            Bb
 Yaktığın beni söndürmedin
Fm               Bb
 Kaldım alevlerin ortasında

Cm
Yavaş yavaş gelin üstüme
 
Hiç varmadan
Bb
Yalan dolan bir hikayeyle

Beni de yakmadan
Ab
Yorgun biriyim belki çokça anlaşılmayan
Gm
Gurur değil istediğim sadece zaman

Cm
Sende bir aşk değil bin aşkın acısı var
Bb
Yalvarırım bırak

Bu yalnızlık seni boğar
Ab
Hem nefessin hem de cellat

Korkarım öyle
Gm
Neden sevmedin bu kalbi kırdığın kadar

End of song Play again?

Suzan Hacıgarip - Kırdığın Kadar Tabs

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Harmony analysis

Suzan Hacıgarip – Kırdığın Kadar: key and chord analysis

The song opens on Cm 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 it opens on Cm and Cm is heard 5 times against 1 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	1×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	4×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	3×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	2×
V	Bb	Dominant — strongest pull home	Bb · D · F	9×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	5×
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	5×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	1×
iv	Fm	Subdominant — moves away from home	F · Ab · C	4×
v	Gm	Minor dominant — soft pull	G · Bb · D	3×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	2×
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). 6 different chords appear 24 times in total; 6 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 ×3
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×2
Bb Eb EbV → Iauthentic cadence CmVII → III ×1

The move to watch is Fm → Bb, heard 3 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 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 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

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

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Bb, Cm, Fm, Gm; read them as V–vi–ii–iii in Eb or VII–i–iv–v in Cm. 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 Gm, the song seals Eb 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.