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)
Key Eb major – C minor Chords Cm, Bb, Ebm, Eb, Db, Ab Easy key D (capo 1)
Cm
Beni yanlış anlama, mutluyum ben dünyamda
Ebm Cm
Bir küçük renk katsak ya, hatırlarsın arada
Cm
Yarışmak zor zamanla, kim masum ki dünyada
Ebm Cm
Geçer gençliğin hızla, pişman olsan ne fayda
Eb Bb
Bi adama gel demek zor
Eb Bb
Bende diz çökmem
Cm
Aslında çok zor ama
Sorma sorgulama
Cm Bb
Aşkı sende tatmaya geldim
Cm Bb
Bir sebepten cismine geldim
Db Ab
Bende kalsın sırların
Cm
Seni su gibi içmeye geldim
Cm
Seni baştan çıkarmam, mutluysan hayatından
Ebm Cm
Bir kumar oynasak ya, kalbin kaldırır korkma
Cm
Yarışmak zor zamanla, kim masum ki dünyada
Ebm Cm
Geçer gençliğin hızla, pişman olsan ne fayda
Eb Bb
Bi adama gel demek zor
Eb Bb
Bende diz çökmem
Cm
Aslında çok zor ama
Sorma sorgulama
Cm Bb
Aşkı sende tatmaya geldim
Cm Bb
Bir sebepten cismine geldim
Db Ab
Bende kalsın sırların
Cm
Seni su gibi içmeye geldim
End of song Play again?
Harmony 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
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 16 times against 4 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.
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 | 4× |
| i | Ebm | Chromatic colour chordoutside the key | Eb · Gb · Bb | 4× |
| 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 | 2× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 8× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 16× |
| bVII | Db | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Db · F · Ab | 2× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 16× |
| bII | Db | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Db · F · Ab | 2× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 4× |
| iii | Ebm | Chromatic colour chordoutside the key | Eb · Gb · Bb | 4× |
| 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 | 2× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 8× |
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 36 times in total; 4 of them sit naturally inside the shared scale. Db is borrowed from the parallel minor, adding a darker shade to the major side.
The move to watch is Bb → Cm, heard 4 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.
Empty slices are chords the song doesn't use.
The opening Cm lays a solid floor for everything that follows. Cm, Bb, Ebm, Eb carry the song: vi–V–i–I relative to Eb, i–VII–iii–III relative to Cm. Db briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). 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 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.
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.
Ready-made lists by difficulty and mood.
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