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)
Mert Çodur - Yıkılına Kadar - İrem Derici - Chord
Key Eb major – C minor Chords Fm9, Cm9 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Fm9
Sen benden sıkılana kadar
Tüketene kadar, aklınca beni denedin
Cm9
Ben de kafayı bozar
Ve bu gece çıkar
Yıkılana kadar içerim
Fm9 Fm9 Cm9 Cm9
Fm9
Sanırım kutsal bi' derstin bana
Bedeli ağır bi' tecrübeydin
Cm9
Kafa olarak çok terstin bana
Yine de her gece düşümdesin
Fm9
Seninle düşman olmasam da
Hayaline bile kuruluyorum
Cm9
Bi’ rüzgardım saçlarında
Sönüyorum
Fm9
Sen benden sıkılana kadar
Tüketene kadar, aklınca beni denedin
Cm9
Ben de kafayı bozar
Ve bu gece çıkar
Yıkılana kadar içerim
x2
Fm9
İki defa yaşanmaz saltanatlar
Heves değildi ilk temaslar
Cm9
Arşa çıktık, parlıyo’du gözler
Uslu durmaz ihtiraslar
Fm9
Anlamazlar, anlatsam da
Yazılı kaderime sonbaharlar
Cm9
Düşme nolur dallarımdan
Dokunuyor kanıma
Fm9
Sen benden sıkılana kadar
Tüketene kadar, aklınca beni denedin
Cm9
Ben de kafayı bozar
Ve bu gece çıkar
Yıkılana kadar içerim
x2
Fm9
Kalpler kararıyor
Göğsüm daralıyor
Cm9
Varsa bi ihtimal
Dön gel geç oluyor
x2
End of song Play again?
Mert Çodur - Yıkılına Kadar - İrem Derici Tabs
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Harmony analysis
Mert Çodur – Yıkılına Kadar - İrem Derici: key and chord analysis
The song opens on Fm9 and ends on Cm9. 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 comes to rest on Cm and Cm is heard 10 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 | — |
| ii7 | Fm9 | Supertonic — prepares the dominant | F · Ab · C · Eb · G | 10× |
| 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 | — |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi7 | Cm9 | Relative minor — the melancholy side | C · Eb · G · Bb · D | 10× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm9 | Tonic — home | C · Eb · G · Bb · D | 10× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv7 | Fm9 | Subdominant — moves away from home | F · Ab · C · Eb · G | 10× |
| 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 | — |
| 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). 2 different chords appear 20 times in total; 2 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
- Fm9 Cm9 Ebii7 → vi7 Cmiv7 → i7minor plagal ×9
The move to watch is Fm9 → Cm9, heard 9 times. From the Cm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Eb side it reads ii7 → vi7. 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 Fm9, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Cm9, land on C, Eb, G — 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 Fm9 lays a solid floor for everything that follows. The backbone is Fm9, Cm9 — ii7–vi7 from the Eb side, iv7–i7 from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm9 → Cm9 (ii7 → vi7 in Eb, iv7 → i7 in Cm): minor plagal — deep and melancholic. The final chord is Cm9; the ear comes to rest in Cm.
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.
Mert Çodur - Yıkılına Kadar - İrem Derici 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: Mert ÇodurMusic: Mert ÇodurArrangement: Kerem Akdağ
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