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)
Gökhan Türkmen - Yaramaz - Chord
Key Eb major – C minor Chords Gm, Ab, Bb, Fm, Cm, Eb Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Gm Ab
Kurallar yoktu yaşadığım heyecanda
Eb Bb
Heyecan değil mi bizi tutan ayakta
Cm Gm
Sen bir uçurumda durduğunda
Ab Bb
Ben nefes aldığımda boynunda
Fm Gm Ab Gm Fm
Durmazsan kazanırsın diyen sen değil miydin
Gm Ab Bb
Ne oldu da şimdi aşkımıza ara verdik
Cm Ab Bb Fm
Aldırmadın çocukça davranışlarını
Gm Ab
Bırakıp git tin
Bb Gm Fm Eb
Ben şimdi bu kadar yaramazlıkla nasıl başa çıkarım
Ab Bb Fm
Kulağımda melodiler sana söylediğim en sevdiğin
Gm Ab
Nin ni ler
Bb Gm Fm Eb
Ben hep delirirdim seninle oysa başkaları hep eksiktiler
End of song Play again?
Gökhan Türkmen - Yaramaz Tabs
NotesX
Harmony analysis
Gökhan Türkmen – Yaramaz: key and chord analysis
The song opens on Cm and ends on Eb. 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: we can't honestly pick a side here — the song moves freely between Eb major and C minor because it comes to rest on Eb and it opens on Cm. Try reading the chords both ways and see which feels more like home to you.
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 | 3× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 6× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 9× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 8× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 7× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 3× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 3× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 3× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 6× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 9× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 8× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 7× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 36 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
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×6
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2
- Ab Eb EbIV → Iplagal cadence CmVI → III ×1
The move to watch is Ab → Bb, heard 6 times. From the Eb side it reads IV → V (IV → V: the lift that builds tension before home); from the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — 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
- 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. Gm, Ab, Bb, Fm carry the song: iii–IV–V–ii relative to Eb, v–VI–VII–iv relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bb (IV → V in Eb, VI → VII in Cm): IV → V — the lift that builds tension before home. The final chord is Eb; 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.
Gökhan Türkmen - Yaramaz 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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