Sibel Can - Kıyamam - Eypio - Chord

Key Gb major – Eb minor Chords Ebm, Abm, Bb7 Easy key C (capo 6)

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Capo 0

Abm  Ebm  Bb7  Ebm
x2

Abm      Ebm      Bb7         Ebm
Bi' seni tutamadım ben de elimde (elimde)
Abm       Ebm         Bb7         Ebm
Gördün mü sen kendini hiç gözlerimde? (gözlerimde)
Abm       Ebm         Bb7        Ebm 
Bilmem dünyanın belki başka yerinde
    Abm          Ebm        Bb7         Ebm
Elimde değil ben kaçtım altıpatlar belimde

         Abm        Ebm      Bb7           Ebm
Canım ben, dünyanın bir yerinde başka şekilde
    Abm          Ebm        Bb7         Ebm
Elimde değil ben kaçtım altıpatlar belimde

    Abm   Ebm         Bb7    Ebm
Kıyamam,   yalanım yok dokunamam
    Abm        Ebm         Bb7         Ebm
Bir sen varsın, demez benim gözlerim yalan
         Abm   Ebm         Bb7    Ebm
Sana kıyamam,   yalanım yok dokunamam
    Abm        Ebm         Bb7         Ebm
Bir sen varsın, demez benim gözlerim yalan

          Abm            Ebm
Seviyorsa tap, geliyorsa kap
          Bb7                Ebm
Biliyorsa sev onu bilmiyorsa at
           Abm               Ebm
Durumlar sakat beni sürülere kat
         Bb7         Ebm
Geceleri karanlığa ettim iltifat

               Abm                    Ebm
Yani böyle durumdayız demek durumum harap
         Bb7                    Ebm
Kahraman değiliz dedim sonumuza bak
           Abm                   Ebm
Yetmedi mi oğlum benim yediğim dayak?
            Bb7                 Ebm
Bari desen "Bir şeyleri üzerime yap"

                Abm           Ebm                Bb7
Ya da bi sigara yak, canımıza tak edeni kafamıza kak
         Ebm               Abm
Yaramıza bak desen aramız uzak
           Ebm                    Bb7
Söyle bana kurduğun bu nasıl bi tuzak?
            Ebm                  Abm
Durdurun şu dünyayı biz köşede durak

         Ebm           Bb7
Yatını bırak, katını bırak
           Ebm                Abm
Çevre yolu kapalıymış atını bırak
           Ebm                Bb7
Yalan yere gönülü ve hatırı bırak
             Ebm             Abm
Ona yazdığım en son satırı bırak


Abm   Ebm          Bb7    Ebm
        Yalanım yok dokunamam
    Abm        Ebm         Bb7         Ebm
Bir sen varsın, demez benim gözlerim yalan
         Abm   Ebm         Bb7    Ebm
Sana kıyamam,   yalanım yok dokunamam
    Abm        Ebm         Bb7         Ebm
Bir sen varsın, demez benim gözlerim yalan

Abm  Ebm  Bb7  Ebm
x4

    Abm   Ebm         Bb7    Ebm
Kıyamam,   yalanım yok dokunamam
    Abm        Ebm         Bb7         Ebm
Bir sen varsın, demez benim gözlerim yalan

         Abm
Sana kıyamam

End of song Play again?

Sibel Can - Kıyamam - Eypio Tabs

NotesX

Harmony analysis

Sibel Can – Kıyamam - Eypio: key and chord analysis

The song opens on Abm and ends on Abm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

Major view

Gb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F (leading tone, pulls home)
4 = Cb (the note that leans on the 3rd)

Minor view

Eb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Cb (the minor's melancholy)
b7 = Db (natural-minor colour)
#7 = D (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 Eb minor side because Ebm is heard 52 times while Gb never appears and the major V chord points straight at Ebm. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	28×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
V7/vi	Bb7	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F · Ab	26×
IV	Cb	Subdominant — moves away from home	Cb · Eb · Gb	—
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	52×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	52×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	28×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	—
V7	Bb7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F · Ab	26×
VI	Cb	Submediant — warm colour	Cb · Eb · Gb	—
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	—

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 3 different chords appear 106 times in total; 2 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same Bb7 is V7/vi, a secondary dominant heading for Ebm.

Chord movement

Bb7 Ebm GbV7/vi → visecondary resolution EbmV7 → iharmonic-minor cadence ×26
Abm Ebm Gbii → vi Ebmiv → iminor plagal ×26

The move to watch is Bb7 → Ebm, heard 26 times. From the Ebm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V7/vi → vi (secondary resolution: Bb7 resolves a fourth up to Ebm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Abm, land on Ab, Cb, Eb — 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.
When Bb7 comes, swap the scale's Db for D: 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 Gb major shapes

Capo 2 + E shapes
Capo 4 + D shapes
Capo 6 + C shapes

With Eb minor shapes

Capo 1 + Dm shapes
Capo 6 + Am shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone up

The song's harmonic story

The first chord is Abm; the ear learns where home is within a second. The chords that keep coming back are Ebm, Abm, Bb7; read them as vi–ii–V7/vi in Gb or i–iv–V7 in Ebm. Bb7 is the interesting twist: in Gb it is a chromatic chord (V7/vi), while in Ebm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Bb7 → Ebm (V7/vi → vi in Gb, V7 → i in Ebm): harmonic-minor cadence — the major V resolves dramatically. It closes on Abm, letting the Gb 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.