Redd - Kanıyorduk - Chord

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

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Capo 0

Cm                            Fm
Resmini buldum yıllar sonra, bir kitapta
Bb                        Cm               
Nasıl da yakışmıştı yüzün o sayfaya
                          Fm
Bir devle savaşıyordu adam, yorulmuştu
Bb                          Cm
Bir sonraki sayfaya geçmeden vurulmuştu

Cm                             Fm
Yıldızlar meraklı gözler gibi, karanlıkta
Bb                             Cm
Ay yarım kalmış diyordu yazar, bizim gibi

Fm                               
Düşüyorduk uzaydan bakınca
Cm                             
Ama aslında yükseliyorduk dünyadan
Fm                                     
Mutluyduk uzaktan bakınca
Cm                      Ab
Ama aslında kanıyorduk aşkla
  Bb    Ab    Bb
Aşkla aşkla aşkla

Cm                        Fm     
Özlemek seni yıllar sonra acıtıyor
Bb                 Cm
Kalbim kağıt gibi yırtılıyor
                                  Fm
Bir devle savaşıyordum ben hep bu hayatta
Bb                     Cm
Ölmeyi isterdim oysa kollarında

Fm                               
Düşüyorduk uzaydan bakınca
Cm                             
Ama aslında yükseliyorduk dünyadan
Fm                                     
Mutluyduk uzaktan bakınca
Cm                       Ab
Ama aslında kanıyorduk aşkla
  Bb    Ab    Bb
Aşkla aşkla aşkla

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Harmony analysis

Redd – Kanıyorduk: 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 and Cm is heard 12 times while Eb never appears. 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	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	9×
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	4×
V	Bb	Dominant — strongest pull home	Bb · D · F	9×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	12×
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	12×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	9×
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	4×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	9×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 34 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

Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×6
Fm Bb Ebii → Vii → V Cmiv → VII ×5
Fm Cm Ebii → vi Cmiv → iminor plagal ×4
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×4

The move to watch is Bb → Cm, heard 6 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). 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 Bb, land on Bb, D, F — 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
3 semitones down · capo 3 keeps the original pitch

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, Bb, Ab; read them as vi–ii–V–IV in Eb or i–iv–VII–VI in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. The final chord is Bb; 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.