TNK - Söyle Ruhum - Chord

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

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Capo 0

Eb  Cm  Gm  Gm

Eb     Cm              Gm
Derindeyim çok derindeyim
Eb       Cm            Gm
Çok karanlık bu ben miyim
Eb      Cm             Gm
Tutun beni son nefesteyim

Cm          Ab
Söyle ruhum söyle
    Eb          Gm
Hiç yenildin mi böyle
Bb        Fm
Düşmemek için
   Ab          Bb
Hiç atladın mı söyle

Cm           Ab
Söyle sen de söyle
  Eb              Gm
Hiç yenildik mi böyle
 Bb            Fm
Acılar biter diye
    Ab        Bb
Sen bittin mi söyle

Eb  Cm  Gm  Gm

Eb    Cm            Gm
Kaybettim bile kendimi
Eb      Cm          Gm
Yaşayamadım zaten beni
Eb      Cm             Gm
Ben istedim olan her şeyi

Ab
Yine de biter
    Bb
Bir yıl gider
   Cm
Rüzgar diner
      F
Bir ömür geçer
Ab
Hayat yine
Eb
Aşk yine
   Cm
İçine siner, içime gider
  Bb
Hayat biter diye
Ab        Bb
Güldün mü söyle
Cm          Ab
Söyle ruhum söyle
Eb                 Gm
Hiç yenildik mi böyle

End of song Play again?

TNK - Söyle Ruhum Tabs

NotesX

Harmony analysis

TNK – Söyle Ruhum: key and chord analysis

The song opens on Eb 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: we can't honestly pick a side here — the song moves freely between Eb major and C minor because it opens on Eb and Cm is heard 13 times against 12 for Eb. 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	12×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	2×
V/V	F	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C	1×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	13×
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	13×
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	13×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	12×
iv	Fm	Subdominant — moves away from home	F · Ab · C	2×
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	1×
v	Gm	Minor dominant — soft pull	G · Bb · D	13×
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). 7 different chords appear 56 times in total; 6 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Ab Eb EbIV → Iplagal cadence CmVI → III ×4
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×4
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
Bb Eb EbV → Iauthentic cadence CmVII → III ×1
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×1

The move to watch is Ab → Eb, heard 4 times. From the Eb side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Cm side it is VI → III. 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 Gm, land on G, Bb, D — 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.

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 Eb, the song gives away its key from the very first bar. Cm, Gm, Eb, Ab carry the song: vi–iii–I–IV relative to Eb, i–v–III–VI relative to Cm. F adds a moment of surprise: secondary dominant V/V — leads to Bb. Keep an ear on Ab → Eb (IV → I in Eb, VI → III in Cm): plagal cadence — the soft 'amen' ending. 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.