Semicenk - Yana Yana (Reynmen) - Chord

Key Eb major – C minor Chords Gm, Cm, Fm, Ab Easy key C (capo 3)

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Capo 0

Cm  Gm  Cm  Gm  Fm  Gm  Ab  Gm

  Cm               Gm
Yana yana sevdik bazen çok kez unutulup
Cm               Gm  
Gidenin ardından hep kahrolan bi kul
Fm             Gm               Ab
Varsa sözüme güven, beni anla nolur
          Gm                    Cm
Bozuksa ruhun zaten bana yazık olur

Cm                           Gm
Bir gün gelecek her yüzü göreceksin
                      Cm                         Gm
Tattığın her sözün ve her günün boşa geçti öğreneceksin
                  Fm                    Gm
Yine aynı yerde kalıp, gidersen yarım kalır
                  Ab                               Gm
Düştüğü yerden kalkıp yeniden yazılan kaderine güleceksin
 
  Cm               Gm                           Cm
Zaman hiç vermedi aman geçiyor tüm teselliler yalan
                          Gm
Ben büyütmek istesem de onlar küçük kalmak ister gözümde
Fm
İmdat, (bir ihtimal daha)
         Gm
Gel beni kurtar (benden bu kadar)
            Ab                         Gm
Zor olsa da şartlar, sabrım gerilir patlar bir anda

  Cm               Gm
Yana yana sevdik bazen çok kez unutulup
Cm               Gm  
Gidenin ardından hep kahrolan bi kul
Fm             Gm               Ab
Varsa sözüme güven, beni anla nolur
          Gm                    Cm
Bozuksa ruhun zaten bana yazık olur

End of song Play again?

Semicenk - Yana Yana (Reynmen) Tabs

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Harmony analysis

Semicenk – Yana Yana (Reynmen): 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 12 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	5×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	20×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	5×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	12×
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	12×
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	5×
v	Gm	Minor dominant — soft pull	G · Bb · D	20×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	5×
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). 4 different chords appear 42 times in total; 4 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

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×10

The move to watch is Gm → Cm, heard 10 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.

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 Cm, land on C, Eb, G — 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

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Gm, Cm, Fm, Ab; read them as iii–vi–ii–IV in Eb or v–i–iv–VI in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. Ending on Cm, the song seals Cm as home.

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.