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)
Ferman Akgül - İstemem Söz Sevmeni - Chord
Key Eb major – C minor Chords Cm, Ab, Bb, Eb, Db Easy key G
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Key: Eb | Cm
Capo: 0
Cm Db Ab Db Cm
Cm
Alacakaranlığım
Ab
Varla yok arası
Eb
Zindandan hallice
Bb
Kibirli yalnızlığım
Cm
Yaş hala tutuşmuyor
Ab
Kederim hasret olmuyor
Eb
Zaman demir almıyor
Bb
Yeniliyor kızgınlığım
Cm
İlelebet aşk bu bendeki
Ab
Kör olası yaktı içimi
Eb
Ara sıra uğra kalbime
Bb
Oyunun içinde tut beni
Cm
Ziyadesiyle şerdeyim
Ab
Gece gündüz oldu
Eb
Bir yalansa kefaletim
Bb
Ödeyeli çok oldu
Ab Bb
Hani zamandı tek çare
Cm
Devrildim şişelerce
Ab
Kabulüm mesafene
Eb
Bir gecelik olmak nedir öğret
Bb
Duymasın kimse
Cm
İlelebet aşk bu bendeki
Ab
Kör olası yaktı içimi
Eb
Ara sıra uğra kalbime
Bb
Oyunun içinde tut beni
Cm
İstemem söz sevmeni
Cm Db Ab Db Cm
Cm
Alacakaranlığım
Ab
Varla yok arası
Eb
Zindandan hallice
Bb
Kibirli yalnızlığım
End of song Play again?
Ferman Akgül - İstemem Söz Sevmeni Tabs
NotesX
Harmony analysis
Ferman Akgül – İstemem Söz Sevmeni: 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.
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 against 7 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 | 7× |
| 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 | 10× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 8× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 12× |
| bVII | Db | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Db · F · Ab | 4× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 12× |
| bII | Db | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Db · F · Ab | 4× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 7× |
| 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 | 10× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 8× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 41 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.
Chord movement
- Ab Eb EbIV → Iplagal cadence CmVI → III ×7
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×6
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×1
The move to watch is Ab → Eb, heard 7 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 Cm, land on C, Eb, G — 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.
- On Db, follow the chord's notes (Db · F · Ab) 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
Starting on Cm, the song gives away its key from the very first bar. Cm, Ab, Bb, Eb carry the song: vi–IV–V–I relative to Eb, i–VI–VII–III relative to Cm. Db briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Ab → Eb (IV → I in Eb, VI → III in Cm): plagal cadence — the soft 'amen' ending. Ending on Bb, the song seals Eb as home.
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.
Ferman Akgül - İstemem Söz Sevmeni 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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