Model - Dünya Tek Biz İkimiz - Chord

Key Eb major – C minor Chords Cm, Eb, Ab, G, Fm, Bb Easy key C (capo 3)

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Capo 0

Cm                        Bb          Eb
Hayat korkutmaz beni, yanımda sen varsın
          Ab                     G
Düşersem sen kaldırsın, ağlasam ilk sen duyarsın
Cm                      Bb        Eb
Sarılıp sarmalar düşlerden uyanmayız
        Ab               G
Sıkılırsak saçmalar kimseden utanmayız

   Fm           Cm               Fm            Cm
Bazen akılı, bazen deliyiz, biz en çirkin, biz en güzeliz
   Fm            Cm              Fm            Cm
Bazen peluş, bazen inciyiz, buralarda en güzel biz güleriz

    Cm                        Ab
İki kalp atışı iki kahkaha, seninle hayat koca bir şaka
Eb                          G
En zor günde güler geçeriz, dünya tek biz ikimiz
     Cm                          Ab
Sen sırdaşım, sen her yaşım, sen en iyi arkadaşım
Eb                               G
Uçarız, kaçarız, alt üst ederiz, dünya tek biz ikimiz

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Harmony analysis

Model – Dünya Tek Biz İkimiz: key and chord analysis

The song opens on Cm and ends on G. 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)
#7 = B (harmonic-minor leading tone from the V chord)

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, Cm is heard 8 times against 4 for Eb and the major V chord points straight at Cm. 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	4×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	4×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	4×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	4×
V	Bb	Dominant — strongest pull home	Bb · D · F	2×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	8×
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	8×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	4×
iv	Fm	Subdominant — moves away from home	F · Ab · C	4×
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	4×
VI	Ab	Submediant — warm colour	Ab · C · Eb	4×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	2×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 26 times in total; 5 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm.

Chord movement

Fm Cm Ebii → vi Cmiv → iminor plagal ×4
Bb Eb EbV → Iauthentic cadence CmVII → III ×2
G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×2
Ab Eb EbIV → Iplagal cadence CmVI → III ×2

The move to watch is Fm → Cm, heard 4 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → vi. 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 Eb, land on Eb, G, Bb — 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.
When G comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.

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

Starting on Cm, the song gives away its key from the very first bar. The backbone is Cm, Eb, Ab, G — vi–I–IV–V/vi from the Eb side, i–III–VI–V from the Cm side. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. It closes on G, letting the Eb side have the last word.

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.