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)
İlyas Yalçıntaş - Kalbindeyim - Chord
Key Eb major – C minor Chords C#m, F#m, A, G#m, B Easy key F#
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Key: Eb | Cm
Capo: 0
C#m F#m C#m F#m
C#m A C#m
Asla vazgeçme
G#m F#m C#m
Darılsan da gitme
C#m
Kalp bu adamı dağıtır
G#m F#m C#m
Darılsan da vazgeçme
B
Su ol, çiçek ol
A
Önce sarar sonra sol
G#m A
Karış yağmura, bir damla dol
G#m F#m C#m
İçime, içime, içime
C#m A C#m
Susuyorsam bir bildiğim var, bildiğim
C#m A F#m
Her yağmur damlasında kederdeyim
G#m F#m G#m F#m
Gittiğin yollar çok uzak değil ki bana
A F#m C#m
Sen orada ben burada, kalbindeyim
End of song Play again?
İlyas Yalçıntaş - Kalbindeyim Tabs
NotesX
Harmony analysis
İlyas Yalçıntaş – Kalbindeyim: key and chord analysis
The song opens on C#m and ends on C#m. 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. 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 | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| biii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 9× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| III | G | Chromatic colour chordoutside the key | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | — |
| iv | G#m | Minor iv — borrowed from the parallel minorborrowed chord | G# · B · D# | 6× |
| #IV | A | Chromatic colour chordoutside the key | A · C# · E | 6× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| bVI | B | Borrowed from the parallel minorborrowed chord | B · D# · F# | 1× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | — |
| bvii | C#m | Chromatic colour chordoutside the key | C# · E · G# | 12× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | — |
| bii | C#m | Chromatic colour chordoutside the key | C# · E · G# | 12× |
| 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 | — |
| #iv | F#m | Chromatic colour chordoutside the key | F# · A · C# | 9× |
| 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 | — |
| vi | G#m | Chromatic colour chordoutside the key | G# · B · D# | 6× |
| #VI | A | Chromatic colour chordoutside the key | A · C# · E | 6× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
| #VII | B | Chromatic colour chordoutside the key | B · D# · F# | 1× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 34 times in total; 0 of them sit naturally inside the shared scale. G#m, B are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- On G#m, follow the chord's notes (G# · B · D#) rather than the key's scale — it's a borrowed colour.
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 up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on C#m, the song gives away its key from the very first bar. C#m, F#m, A, G#m carry the song: bvii–biii–#IV–iv relative to Eb, bii–#iv–#VI–vi relative to Cm. G#m briefly darkens the picture: minor iv — borrowed from the parallel minor. The final chord is C#m; the ear comes to rest in Eb.
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.
İlyas Yalçıntaş - Kalbindeyim 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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