Mert Demir - Yaşayamıyorum Sensiz - Chord

Key Eb major – C minor Chords Gm7, Abmaj7, Fm7, Am Easy key C (capo 3)

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Capo 0

Abmaj7  Gm7  Fm7  Gm7
x2

Abmaj7                       Gm7
Alnıma yazdı, sileni silemiyorum
  Abmaj7                              Gm7
Yarama tuzu bastı, bi' yolunu bulamıyorum

Abmaj7
Sıkışıp kaldım kâbus gibi
Gm7
Düşemem artık, bura en dibi
Fm7
Bakma öyle, kalbim yangın yeri
Gm7
Hiçbi' kimse olamaz ki sen gibi

Abmaj7           Gm7
Yaşayamıyorum sensiz
                    Fm7
Ne hâle düştüm, Allah'ım
                 Gm7
Kelimeler kifayetsiz
                     Abmaj7
Kendine kul, köle yaptı
                 Gm7
Yaşayamıyorum sensiz
                    Fm7
Ne hâle düştüm, Allah'ım
                 Gm7
Kelimeler kifayetsiz
                     Am
Kendine kul, köle yaptı

Abmaj7  Gm7  Fm7  Gm7
x2

Abmaj7
Sıkışıp kaldım kâbus gibi
Gm7
Düşemem artık, bura en dibi
Fm7
Bakma öyle, kalbim yangın yeri
Gm7
Hiçbi' kimse olamaz ki sen gibi

Abmaj7           Gm7
Yaşayamıyorum sensiz
                    Fm7
Ne hâle düştüm, Allah'ım
                 Gm7
Kelimeler kifayetsiz
                     Abmaj7
Kendine kul, köle yaptı
                 Gm7
Yaşayamıyorum sensiz
                    Fm7
Ne hâle düştüm, Allah'ım
                 Gm7
Kelimeler kifayetsiz
                     Am
Kendine kul, köle yaptı

End of song Play again?

Mert Demir - Yaşayamıyorum Sensiz Tabs

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Harmony analysis

Mert Demir – Yaşayamıyorum Sensiz: key and chord analysis

The song opens on Abmaj7 and ends on Am. 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. 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	—
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	8×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	18×
III	G	Chromatic colour chordoutside the key	G · B · D	—
IVmaj7	Abmaj7	Subdominant — moves away from home	Ab · C · Eb · G	10×
#iv	Am	Chromatic colour chordoutside the key	A · C · E	2×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	—
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	—
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	8×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	18×
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	10×
#vi	Am	Chromatic colour chordoutside the key	A · C · E	2×
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 38 times in total; 3 of them sit naturally inside the shared scale. Am step outside the scale as colour chords.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Gm7, land on G, Bb, D — 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.
Over Fm7, 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 Abmaj7; the ear learns where home is within a second. The chords that keep coming back are Gm7, Abmaj7, Fm7, Am; read them as iii7–IVmaj7–ii7–#iv in Eb or v7–VImaj7–iv7–#vi in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Am, 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.