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)
Key Eb major – C minor Chords Cm, Ab, Gm, Bb, Fm, G Easy key C (capo 3)
Cm Cm Ab Gm
Cm Gm Cm
En çok ne kadar bakılırsa bir yüze, bir yüze
Ab Gm Cm
O kadar baktım ben de gözlerine, gözlerine
Ab Gm Cm Cm
Cm Ab Gm
Ellerimden beni çalarken ellerin
Cm Ab Gm Cm
Unutulmuş hepsi eskitilmiş yazlarda
Ab Gm
Bırakmaz hiç peşimi gecelerce özlemin
Cm Ab Gm Cm
Gitmezdin yollarına yanımdayken hatırla
Ab Cm Bb Cm
Suçlusu gözlerin, suçlusu sensin
Bb Fm Cm
Ne olur, ne olur, yapma, yapma
Bb Fm G
Ne olur, ne olur, yakmaaa
Cm Ab Gm
Ellerimden beni çalarken ellerin
Cm Ab Gm Cm
Unutulmuş hepsi eskitilmiş yazlarda
Ab Gm
Bırakmaz hiç peşimi gecelerce özlemin
Cm Ab Gm Cm
Gitmezdin yollarına yanımdayken hatırla
End of song Play again?
Harmony 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
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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, Cm is heard 20 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.
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 | 2× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 12× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 1× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 12× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 3× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 20× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| 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 | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 2× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 12× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | 1× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 12× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 3× |
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 50 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 G is V/vi, a secondary dominant heading for Cm.
The move to watch is Gm → Cm, heard 12 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.
Empty slices are chords the song doesn't use.
The first chord is Cm; the ear learns where home is within a second. The backbone is Cm, Ab, Gm, Bb — vi–IV–iii–V from the Eb side, i–VI–v–VII from the Cm side. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. The final chord is Cm; the ear comes to rest in Cm.
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.
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.
Ready-made lists by difficulty and mood.
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