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)
Yüzyüzeyken Konuşuruz - Sandal - Chord
Key Eb major – C minor Chords Gm, Cm, Bb7, Ab, Fm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Bb7 Cm Bb7 Ab Gm Ab Gm
Cm Gm Fm Gm
Uykulardayım, düzensiz uykularda, çok korkunç rüyaların, terli sabahlarında
Cm Gm Fm Gm
Kaçmışsın gitmişsin burdan çünkü bıkmışsın her şeyden, hepimizden
Cm Gm Fm Gm
Kaçmışsın gitmişsin burdan çünkü çok bıkmışsın bizden, ikimizden
Cm Bb7 Cm Bb7 Ab
Yaştım geldim, kuyulara düştüm kendim
Gm Ab Gm
Tırmandım parmaklarımla kirlensin tırnaklarım da
Cm Gm Fm Gm
Uykulardasın şimdi bensiz uykularda, hala İstanbul’dasın ama deniz yok dalgalar da
Cm Gm Fm Gm
Kaçmışlar gitmişler burdan çünkü çok bıkmışlar bizden, ikimizden
Cm Gm Fm Gm
Kaçmışlar gitmişler burdan çünkü bıkmışlar her şeyden, hepimizden
Cm Bb7 Cm Bb7 Ab Gm Ab Gm
Cm Bb7 Cm Bb7 Ab
Yollar aştım geldim, kuyulara düştüm kendim
Gm Ab Gm
Tırmandım parmaklarımla kirlensin tırnaklarım da
Cm Bb7 Cm Bb7 Ab Gm Ab Gm
End of song Play again?
Yüzyüzeyken Konuşuruz - Sandal Tabs
NotesX
Harmony analysis
Yüzyüzeyken Konuşuruz – Sandal: key and chord analysis
The song opens on Cm 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: to us the song feels closer to the C minor side because it opens on Cm and Cm is heard 16 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 6× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 22× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 10× |
| V7 | Bb7 | Dominant — strongest pull home | Bb · D · F · Ab | 10× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 16× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 16× |
| 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 | 6× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 22× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 10× |
| VII7 | Bb7 | Subtonic — steps back to the tonic | Bb · D · F · Ab | 10× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 64 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
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×10
- Bb7 Cm EbV7 → videceptive cadence CmVII7 → iAeolian arrival ×5
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 Bb7, land on Bb, D, F — 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 Cm lays a solid floor for everything that follows. Gm, Cm, Bb7, Ab carry the song: iii–vi–V7–IV relative to Eb, v–i–VII7–VI relative to 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.
Yüzyüzeyken Konuşuruz - Sandal 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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