Yüksek Sadakat - Kadınım - Chord

Key Eb major – C minor Chords Fm, Gm, Cm, G#, D#, Dm Easy key C (capo 3)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Cm                   Fm           Cm
Sana dargınım, kırgınım sana kızgınım
G#             D#
Haksızlık vefasızlık bu
        Fm              Gm
Bu her şeyi inkar eden duygu, ve acı yazık

Cm                       Gm
Kadınım söyle sen mutlu oldun mu
Fm                    Gm
Bu deli adamı unuttun mu
Cm                        Gm
Sevdin mi gerçekten ah seviştin mi
      Fm              Gm  
Söyle onları da öptün mü

Dm                  Fm           Cm
Hiç üzülmedin mi düşünmediğin mi halimi
G#              D#
Hiç mi sızlamadı için
         Fm              Gm        
Bir tek iz bile yok mu benden

End of song Play again?

Yüksek Sadakat - Kadınım Tabs

NotesX

Harmony analysis

Yüksek Sadakat – Kadınım: key and chord analysis

The song opens on Cm and ends on Gm. 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 5 times against 2 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	D#	Tonic — home	D# · G · A#	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	6×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	6×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	G#	Subdominant — moves away from home	G# · B# · D#	2×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	5×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
vii	Dm	Chromatic colour chordoutside the key	D · F · A	1×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	5×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
ii	Dm	Chromatic colour chordoutside the key	D · F · A	1×
III	D#	Relative major — the bright side	D# · G · A#	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	6×
v	Gm	Minor dominant — soft pull	G · Bb · D	6×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	G#	Submediant — warm colour	G# · B# · D#	2×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 22 times in total; 5 of them sit naturally inside the shared scale. Dm step outside the scale as colour chords.

Chord movement

Fm Cm Ebii → vi Cmiv → iminor plagal ×2
G# D# EbIV → Iplagal cadence CmVI → III ×2
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×2

The move to watch is Fm → Cm, heard 2 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — 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. The backbone is Fm, Gm, Cm, G# — ii–iii–vi–IV from the Eb side, iv–v–i–VI from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. The final chord is Gm; 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.