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)
Bertuğ Cemil - Yandım (Nilgül) - Chord
Key Eb major – C minor Chords C#, Cm, Eb, A#m, C, G# Easy key G
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Key: Eb | Cm
Capo: 0
Cm
Sevgilim geç kaldın aşka
Eb C# Cm
Beni de hayata geç bıraktın
Cm
Yaşayan bir ölüyüm şimdi
Eb C# Cm
Sensiz sessiz son baharda
G#
Cennetlik duygularla
Eb
Cehennem oldun kaldın
C# A#m C
Yandım yandım Yandım
C# A#m C
Yandım yandım yandım
Cm
Sevgilim inanmadın aşka
Eb C# Cm
Gercekle yüzleşince korktun kaçtın
Cm
Yaşayan bir ölüyüm şimdi
Eb C# Cm
Beni anınca için sızlamaz mı
G#
Cennetlik duygularla
Eb
Cehennem oldun kaldın
C# A#m C
Yandım yandım Yandım
C# A#m C
Yandım yandım yandım
A#m
Hangi yasak iki kalbe bedeldir söyle
C# C
Sitem etsem dünyaya avunmaz kalbim
A#m
Hangi yasak bedeldir ikimize
C# C
En tatlı rüyadan uyandım
End of song Play again?
Bertuğ Cemil - Yandım (Nilgül) Tabs
NotesX
Harmony analysis
Bertuğ Cemil – Yandım (Nilgül): 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)
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 and Cm is heard 8 times against 6 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | 6× |
| 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# | 2× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| v | A#m | Chromatic colour chordoutside the key | A# · C# · E# | 6× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 8× |
| VI | C | Chromatic colour chordoutside the key | C · E · G | 6× |
| bVII | C# | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | C# · E# · G# | 10× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 8× |
| I | C | Chromatic colour chordoutside the key | C · E · G | 6× |
| bII | C# | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C# · E# · G# | 10× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 6× |
| 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# | 2× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
| vii | A#m | Chromatic colour chordoutside the key | A# · C# · E# | 6× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 38 times in total; 3 of them sit naturally inside the shared scale. C# is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- G# Eb EbIV → Iplagal cadence CmVI → III ×2
The move to watch is G# → Eb, heard 2 times. From the Cm side it is VI → III; from the Eb side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 C#, land on C#, E#, G# — 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- On C#, follow the chord's notes (C# · E# · G#) rather than the key's scale — it's a borrowed colour.
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 first chord is Cm; the ear learns where home is within a second. C#, Cm, Eb, A#m carry the song: bVII–vi–I–v relative to Eb, bII–i–III–vii relative to Cm. C# briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on G# → Eb (IV → I in Eb, VI → III in Cm): plagal cadence — the soft 'amen' ending. The final chord is C; the ear comes to rest in Eb.
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.
Bertuğ Cemil - Yandım (Nilgül) 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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