Flört - Yola Devam - Chord

Key Eb major – C minor Chords Cm, Eb, Ab, Bb Easy key G

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Capo 0

Cm                       Eb
Kaybolduğumda oldu benim yola gelmedim 
Ab                      Bb
Tabii ki çok acı çektim ben böyle değildim 
Cm                    Eb
Arada bir boşa döndüm pervane gibi 
Ab                     Bb
Başım döndü ben döndüm kimse görmedi 

Cm                      Eb
Hadi yola devam be usta 
Ab                        Bb
Hadi yola devam be kaptan 

Cm                     Eb
Gökyüzüne fırça fırça boya sürerdim 
Ab                 Bb
Altına imzamı atıp eve dönerdim 
Cm                    Eb
Şeytana kurşun sıktım yine ölmedi 
Ab                       Bb
Başım döndü ben döndüm kimse görmedi 

Cm                      Eb
Hadi yola devam be usta 
Ab                        Bb
Hadi yola devam be kaptan 
Cm                    Eb
Aramızda karlı dağlar var 
Ab                         Bb
Yine dümenin başına kaptan 

Cm                    Eb
Başımı üstümden çekin gölge yapıyor 
Ab                      Bb
Bu vücudun güneşten çok ricası oluyor 
Cm                Eb
Hadi bana eyvallah ben artık gideyim 
Ab                  Bb
Arayan soran olursa selam söyleyin 

Cm                      Eb
Hadi yola devam be usta 
Ab                        Bb
Hadi yola devam be kaptan 
Cm                   Eb
Aramızda koca dağlar var 
Ab                         Bb
Hadi dümenin başına kaptan

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Flört - Yola Devam Tabs

NotesX

Harmony analysis

Flört – Yola Devam: 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.

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)

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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	11×
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	Ab	Subdominant — moves away from home	Ab · C · Eb	11×
V	Bb	Dominant — strongest pull home	Bb · D · F	11×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	11×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	11×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	11×
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	Ab	Submediant — warm colour	Ab · C · Eb	11×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	11×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 44 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

Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×11
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×10

The move to watch is Ab → Bb, heard 11 times. From the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IV → V (IV → V: the lift that builds tension before 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 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 Ab, land on Ab, C, Eb — 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

Starting on Cm, the song gives away its key from the very first bar. The chords that keep coming back are Cm, Eb, Ab, Bb; read them as vi–I–IV–V in Eb or i–III–VI–VII in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. Ending on Bb, 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.