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)
Cahit Berkay - Yolum Seninle - Chord
Key Eb major – C minor Chords Gm, Ab, Cm, Bb, Eb, Dm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Gm Cm Gm Beni çağıran uçurum uçurum oldun sevdam kaçmam Gm Bb Ab Gm Gm Cm Gm Yok saklanmam başından sonundan korur bizi zaman Gm Bb Ab Gm Eb Kim söylemiş son diye olmaz diye kanar diye Gm Anlatma anlamam Cm Aşk varken sözlerinde düşlerinde Bb Yeniden doğmak gibi nefesinle Ab Gm Çoğaldım sevginle Ab Gm İsteme durdurmam Eb Kim söylemiş son diye olmaz diye kanar diye Gm Anlatma anlamam Cm Büyüt beni gözlerinde ellerinde Bb Yeniden ses oldun sözlerimde Ab Gm Gücün saklı içimde Ab Gm Vursunlar ağlamam Eb Dm İster hayat ister bahar yolum seninle Cm Bb Ab Gm Dursun dünya karşı dursun düşsün peşime Eb Eb Eb Dm Cm Bb Ab Gm
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Cahit Berkay - Yolum Seninle Tabs
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Harmony analysis
Cahit Berkay – Yolum Seninle: key and chord analysis
The song opens on Gm and ends on Gm. 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. 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 | 6× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 16× |
| 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 | 6× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 6× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| vii | Dm | Chromatic colour chordoutside the key | D · F · A | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 6× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| ii | Dm | Chromatic colour chordoutside the key | D · F · A | 2× |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 6× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 16× |
| 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 | 6× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 44 times in total; 5 of them sit naturally inside the shared scale. Dm step outside the scale as colour chords.
Chord movement
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×4
The move to watch is Gm → Cm, heard 4 times. From the Eb side it reads iii → vi; from the Cm side it is v → i (natural-minor cadence: gentle, modal arrival). 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 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 opening Gm lays a solid floor for everything that follows. The backbone is Gm, Ab, Cm, Bb — iii–IV–vi–V from the Eb side, v–VI–i–VII from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. Ending on Gm, 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.
Cahit Berkay - Yolum Seninle 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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