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)
Ezgi Eyuboglu - Vay Bana - Chord
Key Eb major – C minor Chords Cm, Fm, Bb, Ab, Eb Easy key G
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Key: Eb | Cm
Capo: 0
Cm Eb Fm Cm Kör olaydi gözlerum seni hiç görmeseydum oy Fm Bb Cm Lal olaydi dillerum çok sevdum demeseydum Ab Bb Cm Yarumsun demeseydum oy Cm Eb Fm Cm Yandi yürek küle döndi aşk gözumde sele döndi Fm Cm Ab Fm Ak düşti bak saçlaruma vay bana vaylar bana Ab Bb Cm Kanmişum yalanlara oy Cm Fm Vay bana vaylar bana Ab Bb Cm Kanmişum yalanlara oy Cm Eb Fm Cm Hayallerum var idi beyazlarun içinde oy Fm Bb Cm Kefenum oldi bana giydirun üzerume Ab Bb Cm Atun beni denize oy Cm Eb Fm Cm Beddua etmem yar sana arkamdan sakun ağlama Fm Cm Ab Fm Son bir türkü kalanlara vay bana vaylar bana Ab Bb Cm Kanmişum yalanlara oy Cm Fm Vay bana vaylar bana Ab Bb Cm Kanmişum yalanlara oy
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Ezgi Eyuboglu - Vay Bana Tabs
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Harmony analysis
Ezgi Eyuboglu – Vay Bana: key and chord analysis
The song opens on Cm and ends on Cm. 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 both starts and finishes on Cm and Cm is heard 20 times against 4 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 | 4× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 12× |
| 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 | 8× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 8× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 20× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 20× |
| 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 | 12× |
| 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 | 8× |
| 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 52 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×8
- Fm Cm Ebii → vi Cmiv → iminor plagal ×6
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×6
- Fm Bb Ebii → Vii → V Cmiv → VII ×2
The move to watch is Bb → Cm, heard 8 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). 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 Fm, land on F, Ab, C — 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.
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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Cm, the song gives away its key from the very first bar. The chords that keep coming back are Cm, Fm, Bb, Ab; read them as vi–ii–V–IV in Eb or i–iv–VII–VI in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. Ending on Cm, the song seals Cm 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.
Ezgi Eyuboglu - Vay Bana 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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