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)
Mem Ararat - Evin - Chord
Key Eb major – C minor Chords Gm, Ab, Eb, Bb, Cm, Fm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Gm Bb Cm Eb Ab Gm Bb
Eb Eb Ab Ab Ab Fm Gm
Gm Bb Cm Eb
Dilê’m ji ber evîna te diheliya
Ab Gm Bb
Bûye mîna volkanan dikeliya
Eb Ab
Dike qêrîn, dike gazin, dinaliya
Fm Gm
Tu ji bo min hem derdî û dermanî evîn
Gm Bb Cm Eb
Bila pesin ji te re be ey evîn
Ab Gm Bb
Li te tê bihar û gul, li te tê jîn
Eb Ab
Bila ji bo te feda bibe ew dinyaya derewîn
Fm Gm
Tu ji bo min xelate, wate ye evîn
End of song Play again?
Mem Ararat - Evin Tabs
NotesX
Harmony analysis
Mem Ararat – Evin: 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.
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 Eb major side because Eb is heard 7 times against 3 for Cm. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.
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 | 7× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 3× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 9× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 8× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 6× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 3× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 3× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 7× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 3× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 9× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 8× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 6× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 36 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
- Bb Eb EbV → Iauthentic cadence CmVII → III ×3
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
The move to watch is Bb → Eb, heard 3 times. From the Eb side it reads V → I (authentic cadence: the strongest arrival home); from the Cm side it is VII → III. 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 Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — 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
Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, Ab, Eb, Bb; read them as iii–IV–I–V in Eb or v–VI–III–VII in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. It closes on Gm, letting the Eb 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.
Mem Ararat - Evin 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: Mem AraratMusic: Mem AraratArrangement: Mem Ararat
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