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)
Semicenk - Onlar Anlamaz Halden - Chord
Key Eb major – C minor Chords Gm, Cm, Eb, Ab Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Eb Gm Cm Gm Ab Gm
Eb Gm Cm Gm
Onlar anlamaz hâlden çünkü derdimden bilmez
Cm Gm Ab Gm
Çoktan kırılmış kalpler, anlamazlar hâlinden
Eb Gm Cm Gm
Sevdiğimden, bittiğimden, her şeyden vazgeçtiğimden
Cm Gm Ab Gm
Kendimi kaybettiğimden bilmezler derdimden
Eb Gm
Bakınca yüzüme güldüğünden
Cm Gm
Sana açar çiçek tan yerinden
Cm Gm
Fazlası var gördüğünden
Ab Gm
Her gün doğacak yine küllerinden
Eb Gm
Bu kara gece benim manzaramsa
Cm Gm
Düşen bi' yaprağım sonbaharda
Cm Gm Ab Gm
Sanki İstanbul'du gözlerin ağlarken baktığında
Eb Gm Cm Gm
Her gidenin ardından ağlayacak, susup her şeyi yakacak
Cm Gm
Yaptıkları yanına mı kalacak?
Ab Gm
Sanma, yerin hiç dolmayacak
Eb Gm Cm Gm
Onlar anlamaz hâlden çünkü derdimden bilmez
Cm Gm Ab Gm
Çoktan kırılmış kalpler, anlamazlar hâlinden
Eb Gm Cm Gm
Sevdiğimden, bittiğimden, her şeyden vazgeçtiğimden
Cm Gm Ab Gm
Kendimi kaybettiğimden bilmezler derdimden
Eb Gm Cm Gm Eb Gm Cm Gm
End of song Play again?
Semicenk - Onlar Anlamaz Halden Tabs
NotesX
Harmony analysis
Semicenk – Onlar Anlamaz Halden: key and chord analysis
The song opens on Eb 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: we can't honestly pick a side here — the song moves freely between Eb major and C minor because it opens on Eb and Cm is heard 17 times against 10 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | 10× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 35× |
| 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 | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 17× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 17× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 10× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 35× |
| 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 | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 70 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 ×17
The move to watch is Gm → Cm, heard 17 times. From the Eb side it reads iii → vi; from the Cm side it is v → i (natural-minor cadence: gentle, modal arrival). 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 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
The opening Eb lays a solid floor for everything that follows. The chords that keep coming back are Gm, Cm, Eb, Ab; read them as iii–vi–I–IV in Eb or v–i–III–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 Gm, the song seals Eb 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.
Semicenk - Onlar Anlamaz Halden 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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