İkilem - Bir Sebebi Var - Chord

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

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Capo 0

Cm
Kimileri kaldı, kimileri geçti

Boşa didindi yanlışı doğrusu
Ab              Fm   Cm
Bak konuşuyor hala

Cm
Sana bana kalmaz, her şey fani
                             Ab
Herkese tonla bizeyse koklatıyor
            Fm  Cm
Şu yalan dünya

Cm
Dönüp dönüp duruyorum etrafında
Ab                               Fm
Görmüyor musun aklım kaçıyor bir bak
              Cm
Biliyorsun sorma

Cm
Dolduruyorum ceplerimi seninle
Ab                             Fm
Suya attım tek tek batıyor anılar
               Cm
Karışırlar toprağa

Cm 
Yak yanıyorsa söndürme
                Ab
Alev alsın öldürme
                    Fm      Cm
Kimi kimlere kırdırıyor haaayat

Cm
Bırak, içiyorsak bir sebebi var
                    Ab
Kışa döndüm geçti bahar
                    Fm     Cm
Seni benden çaldı yine haaayat

Cm  Cm  Ab  Fm  Cm

Cm
Yürüyorum aklım bir karış havada
Ab                              Fm
Bir türkü tutturdum geceden sabaha
             Cm
Başıboş sokaklarda

Cm
Düşüyorum kaldırsan mı biraz da
Ab                            Fm
Duy beni artık ölüyorum anlasana
             Cm
Bakıyorsun hala

End of song Play again?

İkilem - Bir Sebebi Var Tabs

NotesX

Harmony analysis

İkilem – Bir Sebebi Var: 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 19 times while Eb never appears. 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	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	9×
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	9×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	19×
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	19×
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	9×
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	9×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 37 times in total; 3 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 Cm Ebii → vi Cmiv → iminor plagal ×9

The move to watch is Fm → Cm, heard 9 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → 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 Ab, land on Ab, C, Eb — 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

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. Cm, Ab, Fm carry the song: vi–IV–ii relative to Eb, i–VI–iv relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. 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.