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)
Şanışer - Kafileler - Ayda - Chord
Key Eb major – C minor Chords Cm, Abmaj7, Fm, Bb, Bb7, G7, Ab Easy key G
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Key: Eb | Cm
Capo: 0
Cm
Gönlümden kafileler geçmiş olsa da
Ab
İçim hep yalnızlık dolu
Fm
Kurşunlar çok yakınımdan geçmiş olsa da
Abmaj7 G7
Terk etmem yoluuuuuuu
Cm
Yıllar süren reddedişler, ruhumu defnedişler
Bb
Düzinelerce derdin karşılığında yek sevinçler
Cm
Siyahlar gardiyan olmuş kapımda beklemişler
Bi güvercin uçurmuşum göğe, adına rap demişler
Abmaj7
Bizi sevmemişler belki de bu yüzden böyleyiz dostum
Bb
Esmemiş yel, yanmışız esmemiş yel
Cm
Resimlerde mutlu göründüğümüze bakma, herkes güler resimlerde
Yalan söyler hep resimler
Fm
Evet, her şeyim var, kötü gitmiyor pek de işler
Bb7
Ama hala aynı kâbuslar ve aynı bekleyişler
Cm
Parayla azalmaz çünkü içindeki, cenk edişler
Daralır ruhun yine, sadece oturduğun ev genişler
Fm
Gerisi pek değişmez
Abmaj7
Ya da ne bileyim işte, saçmalıyorum
Çünkü hala bin kat öfkem, yanıyorum
Cm
Zormuş mutlu olmak, inan bana
G7 Cm
Sarayları olup hala mutsuz olan diktatörler tanıyorum
Cm Abmaj7
Vardım gibi, bi yere vardım gibi
Yangın gibi kor alevden
Fm
Dünya kandır beni, artık kandır beni
Abmaj7 G7
Dök yoluma huzur kokan çiçekler
Cm
Gönlümden kafileler geçmiş olsa da
Abmaj7
İçim hep yalnızlık dolu
Fm
Kurşunlar çok yakınımdan geçmiş olsa da
Bb7 Abmaj7 Bb7
Terk etmem yoluuuu
Cm
Dilimde hâlâ vasatın şiiri
Bb
10 yıldan çoktur yazarım, hazanı giyinip
Cm
Savaşıp dururum tanrıyla ama aramız iyidir
Çünkü içim şeytan dolu olsa da vazgeçmem
Haykırırım göğe ararım iyilik
Abmaj7
Dilimde hazanın şiiri, yaşarım yaralı bitkin
Bb
Ruhum Zerdüşt sakalım kirli, saygınız paraya göre mi dostum
Cm
Si...im parayı titri, benim sarayım şiirim
Başımı eğmem, yaşarım dimdik, para bi başarı değil ki
Fm
Sürekli yaradır yanmak, saklanmam apaçık kavgam
Bb
Denizde kabarır dalga, ben ölüme atlarım kayalıklardan
Cm
Beton bi zindanın içinde, yollarım kapalı kardan
Biçare nefes almaya çalışırım ufacık aralıklardan
Fm Ab
İsteğim baharı tatmak, payımı aldım suni başarılardan
Cm
Ve anladım, yalanmış tüm yaşanılanlar
G7
Dışar'dan güçlü durduğuma bakma
İçimde ağır yaralılar var
Cm
Gönlümden kafileler geçmiş olsa da
Abmaj7
İçim hep yalnızlık dolu
Fm
Kurşunlar çok yakınımdan geçmiş olsa da
Bb7 Abmaj7 Bb7
Terk etmem yoluuuuuuuu
End of song Play again?
Şanışer - Kafileler - Ayda Tabs
NotesX
Harmony analysis
Şanışer – Kafileler - Ayda: key and chord analysis
The song opens on Cm and ends on Bb7. 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)
- #7 = B (harmonic-minor leading tone from the V chord)
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, Cm is heard 15 times while Eb never appears and the major V chord points straight at Cm. 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 | 8× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V7/vi | G7 | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D · F | 4× |
| IVmaj7 | Abmaj7 | Subdominant — moves away from home | Ab · C · Eb · G | 10× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 2× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 5× |
| V7 | Bb7 | Dominant — strongest pull home | Bb · D · F · Ab | 5× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 15× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 15× |
| 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 | 8× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V7 | G7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D · F | 4× |
| VImaj7 | Abmaj7 | Submediant — warm colour | Ab · C · Eb · G | 10× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 2× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 5× |
| VII7 | Bb7 | Subtonic — steps back to the tonic | Bb · D · F · Ab | 5× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 49 times in total; 6 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G7 is V7/vi, a secondary dominant heading for Cm.
Chord movement
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×5
- G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×4
- Fm Bb7 Ebii → V7ii → V Cmiv → VII7 ×3
- Bb7 Cm EbV7 → videceptive cadence CmVII7 → iAeolian arrival ×2
- Abmaj7 Bb EbIVmaj7 → VIV → V CmVImaj7 → VIIVI → VII ×2
- Abmaj7 Bb7 EbIVmaj7 → V7IV → V CmVImaj7 → VII7VI → VII ×2
The move to watch is Bb → Cm, heard 5 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). 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 Abmaj7, land on Ab, C, Eb — 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.
- When G7 comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.
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
The opening Cm lays a solid floor for everything that follows. Cm, Abmaj7, Fm, Bb carry the song: vi–IVmaj7–ii–V relative to Eb, i–VImaj7–iv–VII relative to Cm. G7 is the interesting twist: in Eb it is a chromatic chord (V7/vi), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. Ending on Bb7, 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.
Şanışer - Kafileler - Ayda 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: ŞanışerMusic: Şanışer
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