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)
Ajda Pekkan - Kimler Geldi Kimler Geçti - Chord
Key Eb major – C minor Chords Fm, Bb, Eb, Ab, G7, Cm, C Easy key G
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Key: Eb | Cm
Capo: 0
Cm Fm
Bilmem ki bu aksam sen de bir hoş musun?
Bb Eb
İçmeden hatıralardan sarhoş musun?
Ab Fm G7 Cm
Ellerin sanki bak hala ellerimde yanıyor duyuyor musun?
Fm
Dostlar seni söylüyor sahi mutsuz musun
Bb Eb
Bu yolda dönüş yok sen bilmiyor musun
Ab Fm
Her şey gönlünce olmaz demiştim sana
G7 Cm
Kaderden kaçılmaz görüyorsun
C Fm
Kimler geldi hayatımdan kimler geçti
Bb Eb
Hiç birisi hasretini gidermedi
Ab Fm
En güzeli senin kadar sevilmedi
G7 C
Kimler geldi kimler geçti
Cm Fm
Korkma bu aksam gelip çalmam kapını
Bb Eb
Başkası paylaşıyor alın yazını
Ab Fm G7
Ben sensiz yaşıyorum yasak aşkını söylüyorum şarkını
C Fm
Kimler geldi sorma sakin kimler geçti
Bb Eb
Hiç birisi hasretini gidermedi
Ab Fm
En güzeli senin kadar sevilmedi
G7 C
Kimler geldi kimler geçti
End of song Play again?
Ajda Pekkan - Kimler Geldi Kimler Geçti Tabs
NotesX
Harmony analysis
Ajda Pekkan – Kimler Geldi Kimler Geçti: key and chord analysis
The song opens on Cm and ends on C. 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, Eb is heard 5 times against 4 for Cm 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 | 5× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 10× |
| 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 | 5× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 5× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 5× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 4× |
| V/ii | C | Secondary dominant V/ii — leads to Fmsecondary dominant | C · E · G | 4× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 4× |
| V/iv | C | Secondary dominant V/iv — leads to Fmsecondary dominant | C · E · G | 4× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 5× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 10× |
| 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 | 5× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 5× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 5× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 38 times in total; 5 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. C acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bb Eb EbV → Iauthentic cadence CmVII → III ×5
- Fm Bb Ebii → Vii → V Cmiv → VII ×5
- Fm G7 Ebii → V7/vi Cmiv → V7iv → V ×5
- G7 C EbV7/vi → V/iisecondary resolution CmV7 → V/iv ×3
- G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×2
The move to watch is Bb → Eb, heard 5 times. From the Cm side it is VII → III; from the Eb side it reads V → I (authentic cadence: the strongest arrival home). 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — 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.
- 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
Starting on Cm, the song gives away its key from the very first bar. The chords that keep coming back are Fm, Bb, Eb, Ab; read them as ii–V–I–IV in Eb or iv–VII–III–VI in 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 → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. Ending on C, 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.
Ajda Pekkan - Kimler Geldi Kimler Geçti 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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