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)
Aleyna Tilki - Sen Olsan Bari - Chord
Key Eb major – C minor Chords Cm, Eb, G#, Bb Easy key G
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Key: Eb | Cm
Capo: 0
Cm Eb G# Bb
Cm Eb G# Bb
Çaldığın o kalbi yerine koy lütfen
Cm G# Eb Bb
Eğer hislerinden pek emin değilsen
Cm Eb G# Bb
Aradığın aşksa en güzelinden
Cm G# Eb Bb
O zaman başka açarım kapıları hazırım dünden
Cm Eb G# Bb
O sen olsan bari sen olsan bari
Cm G# Eb Bb
O sen olsan bari sen olsan bari
Cm Eb G# Bb Cm
Hazırım diyorum dünden düşmüyorsun dilimden
G# Eb Bb
Olan olmuş zaten o sen olsan bari
Cm Eb G# Bb
Cm G# Eb Bb
Cm Eb G# Bb
Bendeki bu sihri keşke görebilsen
Cm G# Eb Bb
İnan oynatırdın aklını yerinden
Cm Eb G# Bb
Aradığın aşksa en özelinden
Cm G# Eb Bb
O zaman başka açılır kapılar buyurun önden
End of song Play again?
Aleyna Tilki - Sen Olsan Bari Tabs
NotesX
Harmony analysis
Aleyna Tilki – Sen Olsan Bari: key and chord analysis
The song opens on Cm and ends on Bb. 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 opens on 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 | 15× |
| 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 | G# | Subdominant — moves away from home | G# · B# · D# | 15× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 15× |
| 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 | 15× |
| 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 | G# | Submediant — warm colour | G# · B# · D# | 15× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 15× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 60 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 ×14
- G# Bb EbIV → VIV → V CmVI → VIIVI → VII ×8
- G# Eb EbIV → Iplagal cadence CmVI → III ×7
The move to watch is Bb → Cm, heard 14 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over G#, land on G#, B#, D# — 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
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Cm lays a solid floor for everything that follows. The backbone is Cm, Eb, G#, Bb — vi–I–IV–V from the Eb side, i–III–VI–VII from the Cm side. 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): Aeolian arrival — rises a whole tone into home. It closes on Bb, 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.
Aleyna Tilki - Sen Olsan Bari 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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