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)
Ayça Özefe - Sen De Yalnız Kal (Emre Yıldırım) - Chord
Key Eb major – C minor Chords Ab, Cm, Gm, Bb, Fm, Abmaj7 Easy key G
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Key: Eb | Cm
Capo: 0
Cm Gm Bb Ab
Cm
Bu duruma getiren nedir bizi bir tahminim var
Biri aşk önemi yok yakarım tüm resimleri
Ab
Diğeri nefret beni affet bi de korku
Koca boşluk içimde yok mu duyan beni
Cm
Çıkmıyor aklımdan o günden beri
Sevmeyen biri
Ab
Dilinde tek hece git diyor tabi
Anladım tamam yanında yok yerim
Cm
Ne varsa aldın elimden dünüm bugünüm
Zor oldu nefret etmek bu yüzden üzgünüm
Ab
Başka yolu yoktu
İstediğin oldu, en kolayı buydu
Fm
Sen de yalnız kal
Bb Gm
Sen de yalnız ol anla beni
Ab
Titresin dudakların gözyaşlarınla
Fm Ab Bb
Ya da tut akmasın boşver beni
Bunları sana söylemek
Gm
İstemedim, istemem
Abmaj7
Haklısın da
Cm Gm
Uzaktan izliyor gibiyim
Bb
Ne kadar geçti üstünden
Ab
Kendi hayatımda seyirciyim
Yakınıyorum kendimden
Fm Bb
Neye dokunduysam hep külleri elimde
Gm Ab
Kime inandıysam hep izleri benimle
End of song Play again?
Ayça Özefe - Sen De Yalnız Kal (Emre Yıldırım) Tabs
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Harmony analysis
Ayça Özefe – Sen De Yalnız Kal (Emre Yıldırım): key and chord analysis
The song opens on Cm and ends on Ab. 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 C minor side because it opens on Cm and Cm is heard 5 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 3× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 5× |
| 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× |
| IVmaj7 | Abmaj7 | Subdominant — moves away from home | Ab · C · Eb · G | 1× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 5× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 5× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| 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 | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 3× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 5× |
| 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× |
| VImaj7 | Abmaj7 | Submediant — warm colour | Ab · C · Eb · G | 1× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 5× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 27 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
- Ab Cm EbIV → vi CmVI → iVI → i ×3
- Fm Bb Ebii → Vii → V Cmiv → VII ×2
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×1
- Abmaj7 Cm EbIVmaj7 → vi CmVImaj7 → iVI → i ×1
The move to watch is Ab → Cm, heard 3 times. From the Cm side it is VI → i (VI → i: falls a half step into home); from the Eb side it reads IV → 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 Ab, land on Ab, C, Eb — 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 Gm, land on G, Bb, D — 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. The chords that keep coming back are Ab, Cm, Gm, Bb; read them as IV–vi–iii–V in Eb or VI–i–v–VII in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Cm (IV → vi in Eb, VI → i in Cm): VI → i — falls a half step into home. It closes on Ab, 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.
Ayça Özefe - Sen De Yalnız Kal (Emre Yıldırım) 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: Emre YıldırımMusic: Emre Yıldırım
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