Aydilge - Umudum Var - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Cm   Ab   Cm   Cm

Cm        Ab
Yazdığım, çizdiğim
Fm
İçimdeki düşlerim
  Ab
Silinmiyor, sönmüyor
 Bb       Cm
Ateş gibi hislerim

Cm        Ab
Senle ben aynıyız
Fm
Belki de bambaşkayız
   Ab
Ne fark eder, ne fark eder
  Bb         Cm
Güneş bizi öpsün yeter

Ab           Bb           Ab            Bb
Bazen dünyam zorluklarla, yalnızlıkla ağlar
Ab           Bb         Ab                 Bb
Bazen dünyam yıkılsa da ben kalkarım bir daha

       Eb
İçim yanar, bir derdim var
        Bb     Ab        Eb
Yine de yoldayıım umudum var

Yanar dağlar bizi anlar
         Bb     Ab        Eb
Düşürmem düşlerimi umudum var

End of song Play again?

Aydilge - Umudum Var Tabs

NotesX

Harmony analysis

Aydilge – Umudum Var: key and chord analysis

The song opens on Cm and ends on Eb. 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: we can't honestly pick a side here — the song moves freely between Eb major and C minor because it comes to rest on Eb, it opens on Cm and Cm is heard 7 times against 3 for Eb. Try reading the chords both ways and see which feels more like home to you.

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	3×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	2×
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	11×
V	Bb	Dominant — strongest pull home	Bb · D · F	8×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	7×
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	7×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	3×
iv	Fm	Subdominant — moves away from home	F · Ab · C	2×
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	11×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	8×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 31 times in total; 5 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 Bb EbIV → VIV → V CmVI → VIIVI → VII ×6
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2
Ab Eb EbIV → Iplagal cadence CmVI → III ×2
Bb Eb EbV → Iauthentic cadence CmVII → III ×1
Ab Cm EbIV → vi CmVI → iVI → i ×1

The move to watch is Ab → Bb, heard 6 times. From the Eb side it reads IV → V (IV → V: the lift that builds tension before home); from the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Bb, land on Bb, D, F — 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.

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
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The backbone is Ab, Bb, Cm, Eb — IV–V–vi–I from the Eb side, VI–VII–i–III from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bb (IV → V in Eb, VI → VII in Cm): IV → V — the lift that builds tension before home. The final chord is Eb; the ear comes to rest in Eb.

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.