Levent Yüksel - Zalim - Chord

Key Eb major – C minor Chords Cm, Fm, Gm, D#, A#, Bb Easy key C (capo 3)

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Capo 0

Cm             Fm           Gm             Cm
Ten beyaz saç kızıl güller kahkahasında bülbüller
          Fm           Gm               Cm
Kirpiği kapkara tüller ben o afete vuruldum
D#         Fm           A#           D#
Göz değil nakış mübarek bendeki aşk değil ibadet
        Fm             A#          Gm     
Elleri sevdi nihayet ben ebedi saadetten kovuldum 
Cm      Fm            Gm              Cm
Gölgemi aldım yanıma vurdum hasretin yoluna
          Fm              Gm             Cm
Benzedim bahtsız Mecnun'a Yüce Mevlaya sığındım

Cm                     
Seyret perişan halimi bende akşam olmakta

Dostlar seyrelmiş beyhude lafla vakit dolmakta
Fm                  Gm              
Avare oldum serseri oldum terki diyarda
Cm       Bb
Zalim senin Allah'ın yok mu

Cm
Yarin gözü yüksekte benim bir kuru aşkım var

Düşmanlarım nispette be hey kara vicdanli yar
Fm                   Gm
Yağdı saçlarıma genç yaşımda lapa lapa kar
Cm          
Zalim senin Allah'in yok

End of song Play again?

Levent Yüksel - Zalim Tabs

NotesX

Harmony analysis

Levent Yüksel – Zalim: key and chord analysis

The song opens on Cm and ends on Cm. 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 both starts and finishes on Cm and Cm is heard 10 times against 2 for Eb. 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	D#	Tonic — home	D# · G · A#	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	8×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	7×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	A#	Dominant — strongest pull home	A# · D · E#	2×
V	Bb	Dominant — strongest pull home	Bb · D · F	1×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	10×
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	10×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	D#	Relative major — the bright side	D# · G · A#	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	8×
v	Gm	Minor dominant — soft pull	G · Bb · D	7×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	A#	Subtonic — steps back to the tonic	A# · D · E#	2×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 30 times in total; 6 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

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×7
Fm A# Ebii → Vii → V Cmiv → VII ×2
A# D# EbV → Iauthentic cadence CmVII → III ×1
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1

The move to watch is Gm → Cm, heard 7 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → vi. 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, 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

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Cm, Fm, Gm, D#; read them as vi–ii–iii–I in Eb or i–iv–v–III in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. Ending on Cm, the song seals Cm 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.