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)
Evrencan Gündüz - Iğdır'ın Al Alması - Chord
Key Eb major – C minor Chords Cm, G7, Fm, Abmaj7, Dm7b5, C7, Bb Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Abmaj7 G7 Cm Fm Quba'ın al alması ay balam Abmaj7 G7 Cm Yemeye bal alması Cm C7 Fm Yar gelenden sonra Abmaj7 G7 Cm Yaremin sağalması Dm7b5 Sevirem... Fm Bb Cm Dm7b5 G7 Cm Sevirem yar yetimem yar yetimem yar yar C7 Ay balaam Fm Bb Cm Dm7b5 G7 Cm Sevirem yar ölurem yar sevirem yar yar Abmaj7 G7 Cm Fm Iğdır’dan alma aldım ay balam Abmaj7 G7 Cm Yarimi yola saldım Cm C7 Fm Yar gedenden sonra Abmaj7 G7 Cm Ayva gibi sarardım Dm7b5 Sevirem... Fm Bb Cm Dm7b5 G7 Cm Sevirem yar yetimem yar yetimem yar yar C7 Ay balaam Fm Bb Cm Dm7b5 G7 Cm Sevirem yar ölurem yar sevirem yar yar
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Evrencan Gündüz - Iğdır'ın Al Alması Tabs
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Harmony analysis
Evrencan Gündüz – Iğdır'ın Al Alması: key and chord analysis
The song opens on Abmaj7 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)
- #7 = B (harmonic-minor leading tone from the V chord)
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, Cm is heard 16 times while Eb never appears and the major V chord points straight at Cm. 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 | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 8× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V7/vi | G7 | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D · F | 10× |
| IVmaj7 | Abmaj7 | Subdominant — moves away from home | Ab · C · Eb · G | 6× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 4× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 16× |
| V7/ii | C7 | Secondary dominant V/ii — leads to Fmsecondary dominant | C · E · G · Bb | 4× |
| viiø7 | Dm7b5 | Leading-tone chord — tension | D · F · Ab · C | 6× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 16× |
| V7/iv | C7 | Secondary dominant V/iv — leads to Fmsecondary dominant | C · E · G · Bb | 4× |
| iiø7 | Dm7b5 | Supertonic — prepares the dominant | D · F · Ab · C | 6× |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 8× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V7 | G7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D · F | 10× |
| VImaj7 | Abmaj7 | Submediant — warm colour | Ab · C · Eb · G | 6× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 4× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 54 times in total; 5 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G7 is V7/vi, a secondary dominant heading for Cm. C7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×10
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×4
- C7 Fm EbV7/ii → iisecondary resolution CmV7/iv → iv ×4
- Fm Bb Ebii → Vii → V Cmiv → VII ×4
- Dm7b5 G7 Ebviiø7 → V7/vi Cmiiø7 → V7ii° → V ×4
The move to watch is G7 → Cm, heard 10 times. From the Cm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V7/vi → vi (secondary resolution: G7 resolves a fourth up to Cm). 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 G7, land on G, B, 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.
- When G7 comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.
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 Abmaj7; the ear learns where home is within a second. The chords that keep coming back are Cm, G7, Fm, Abmaj7; read them as vi–V7/vi–ii–IVmaj7 in Eb or i–V7–iv–VImaj7 in Cm. G7 is the interesting twist: in Eb it is a chromatic chord (V7/vi), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on G7 → Cm (V7/vi → vi in Eb, V7 → i in Cm): harmonic-minor cadence — the major V resolves dramatically. 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.
Evrencan Gündüz - Iğdır'ın Al Alması 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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