Burak Bulut - Yasemin x Serdar Ortaç - Chord

Key Eb major – C minor Chords Cm, Fm, Abmaj7, Gm, Bb Easy key C (capo 3)

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Capo 0

Cm  Cm  Fm  Fm  Abmaj7  Abmaj7  Bb  Fm

Cm
Yoruldum efkardan, yalanlardan
Fm
Gittiğin günden beri ben sana mecburum
Abmaj7
Çaresiz o aşklara mensubum

Alın yazım tılsımım efsunum
Gm
Seni sevmeye mecburum
Fm                  Cm
Seni yaşamaya mecburum

Cm          Fm
Neden insan sevipte ayrılır
                   Cm
Neden gönül baharı yaşarken ağlanır
            Fm
Ah be zalim söyle reva mı
                  Cm
Neden bu gözlerim gittiğin o andadır

Cm
Yaseminler attım gezdiğin her yere
Fm
Bütün güzelliğin serildi üstüme
Abmaj7
Çocukluk aşkımdın kolay kazanmadım
Bb              Fm    Gm
Nefes almıyorsam hala unutmadım

Cm
Saydım adım adım geçtiğin yolları
Fm
Nedense bir güne topladım ayları
Abmaj7
Gözünden anlarım bi tek şeye kızsan
Gm              Fm            Cm
Demekki haklıyım eğer ağlıyorsam

Cm          Fm
Neden insan sevipte ayrılır
                   Cm
Neden gönül baharı yaşarken ağlanır
            Fm
Ah be zalim söyle reva mı
                  Cm
Neden bu gözlerim gittiğin o andadır

End of song Play again?

Burak Bulut - Yasemin x Serdar Ortaç Tabs

NotesX

Harmony analysis

Burak Bulut – Yasemin x Serdar Ortaç: 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 13 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	13×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	3×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IVmaj7	Abmaj7	Subdominant — moves away from home	Ab · C · Eb · G	5×
V	Bb	Dominant — strongest pull home	Bb · D · F	2×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	13×
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	13×
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	13×
v	Gm	Minor dominant — soft pull	G · Bb · D	3×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VImaj7	Abmaj7	Submediant — warm colour	Ab · C · Eb · G	5×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	2×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 36 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

Fm Cm Ebii → vi Cmiv → iminor plagal ×7
Abmaj7 Bb EbIVmaj7 → VIV → V CmVImaj7 → VIIVI → VII ×2
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×1

The move to watch is Fm → Cm, heard 7 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Abmaj7, land on Ab, C, Eb — 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 backbone is Cm, Fm, Abmaj7, Gm — vi–ii–IVmaj7–iii from the Eb side, i–iv–VImaj7–v from the Cm side. 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.