Levent Yüksel - Ya Sonra - Chord

Key Eb major – C minor Chords Fm, Cm, G, Eb, Bb, Ab, A#, Dm Easy key C (capo 3)

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Capo 0

Fm                Cm                      G                Cm
Nedir derdin söyle diye, bir gün bana sormadın, yüzüme bakmadın         

       Fm            Bb          Eb           Ab
Bilsen nasıl acı çektim kendim, kimse görsün istemedim
Fm       G           Cm
Candan seven birini bekledim
          Fm          Bb         Eb           Ab
Sen yoktun ki, bu kara günlerde, başkası vardı gönlünde
Fm          G          Cm
Gerçekleri gördüm yeter dedim    

G                           Fm
Bugünün bir de yarını var, mutluyduk belki, bu güne kadar
          A#
Ya sonra, ne yaparım senden sonra, acımadan geçer yıllar
Cm                          Eb
Zamanla yalnızlık başlar, yola çıkar pişmanlıklar

Fm             Cm              G             Cm
Kal, sevgini de al, gidiyorum ben, sen hoşça kal
Dm  Eb   Fm             Cm         G               Cm
Bugünlerin yarınları var, gidiyorum ben, sen hoşça kal

Fm      Bb                Eb              Ab
Bilmem nasıl yaşarım ben, böyle karşılıksız severken 
Fm          G          Cm
Kopmalıyız iş işten geçmeden
Fm          Bb                 Eb          Ab
Alışkanlık betermiş hepsinden, korkuyorum her biten günden
Fm          G         Cm
Bırak kalbimi sen şimdiden

End of song Play again?

Levent Yüksel - Ya Sonra Tabs

NotesX

Harmony analysis

Levent Yüksel – Ya Sonra: key and chord analysis

The song opens on Fm 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)
#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 comes to rest on Cm, Cm is heard 11 times against 6 for Eb 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	6×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	12×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	8×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	4×
V	Bb	Dominant — strongest pull home	Bb · D · F	4×
V	A#	Dominant — strongest pull home	A# · D · E#	1×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	11×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
vii	Dm	Chromatic colour chordoutside the key	D · F · A	1×

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	—
ii	Dm	Chromatic colour chordoutside the key	D · F · A	1×
III	Eb	Relative major — the bright side	Eb · G · Bb	6×
iv	Fm	Subdominant — moves away from home	F · Ab · C	12×
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	8×
VI	Ab	Submediant — warm colour	Ab · C · Eb	4×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	4×
VII	A#	Subtonic — steps back to the tonic	A# · D · E#	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 47 times in total; 6 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 G is V/vi, a secondary dominant heading for Cm. Dm step outside the scale as colour chords.

Chord movement

G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×7
Bb Eb EbV → Iauthentic cadence CmVII → III ×4
Fm Bb Ebii → Vii → V Cmiv → VII ×4
Fm G Ebii → V/vi Cmiv → Viv → V ×4
Fm Cm Ebii → vi Cmiv → iminor plagal ×3
A# Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1

The move to watch is G → Cm, heard 7 times. From the Cm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V/vi → 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — 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.
When G 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

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

The song's harmonic story

The first chord is Fm; the ear learns where home is within a second. Fm, Cm, G, Eb carry the song: ii–vi–V/vi–I relative to Eb, iv–i–V–III relative to Cm. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G → Cm (V/vi → vi in Eb, V → i in Cm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Cm; the ear comes to rest in Cm.

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.