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)
Tutku - Kırdıkların Yetmedi mi - Chord
Key Eb major – C minor Chords Cm, Eb, Ab, Bb Easy key G
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Key: Eb | Cm
Capo: 0
Cm Eb Sanmıştım sen, yangınların merhemi Ab Bb Söz verirken, kırdıkların yetmedi mi x2 Cm Bile bile bunu yapmaz Eb Güvendim de sonu şaşmaz Ab Direndim ve sonu hüsran Bb Kırdıkların yetmedi mi Cm Kapıyorum herkese kapılarımı Eb İçerde ben varım adım yazılı Ab Elimde kalan o umutlarımın Bb Çekersin umuyorum acılarını Cm Dünleri yarıda mı kessem Eb Hiç olmamış gibi yarına mı geçsem Ab Tükendi sorunum sen yokken Bb Ama yanımdasın geceleri sen Cm Eb Sanmıştım sen, yangınların merhemi Ab Bb Söz verirken, kırdıkların yetmedi mi x2 Cm Bile bile bunu yapmaz Eb Güvendim de sonu şaşmaz Ab Direndim ve sonu hüsran Bb Kırdıkların yetmedi mii Cm Eb Ab Bb x2 Cm Ölümü bilemem ama sana gelemem Eb Yalnızlık elimde kalan huzur reçetem Cm Çabalarım yenik bunu yine denemem Eb Yetindim kalana bize geri dönemem
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Tutku - Kırdıkların Yetmedi mi Tabs
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Harmony analysis
Tutku – Kırdıkların Yetmedi mi: key and chord analysis
The song opens on Cm and ends on Eb. 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 comes to rest on Eb and it opens on Cm. 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 | 9× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 7× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 7× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 9× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 9× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 9× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 7× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 7× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 32 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
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×7
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×7
The move to watch is Bb → Cm, heard 7 times. From the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm); from the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Ab, 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
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Cm, the song gives away its key from the very first bar. The chords that keep coming back are Cm, Eb, Ab, Bb; read them as vi–I–IV–V in Eb or i–III–VI–VII in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): deceptive cadence — expected Eb, lands on Cm. It closes on Eb, 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.
Tutku - Kırdıkların Yetmedi mi 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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Lyrics: Tutku TatlıdilMusic: Tutku Tatlıdil
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