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)
Feride Hilal Akın - Yok Yok - Chord
Key Eb major – C minor Chords Cm, Bb, Ab Easy key G
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Key: Eb | Cm
Capo: 0
Cm Bb Ab
Bir gönüle sığmaz hani bir ömür bu aşk
Cm Bb Ab
Uğurlar gönlümü, sen bul beni
Cm Bb
Yalanlarım hatalarım başıma dert oldu
Ab
Karanlık gecenin içinde kayboldum
Cm Bb
Günahlarım zaaflarım her yanda, sen yoksun
Ab
Bir yanım mutlu da bir yanım hep yoksun
Cm Bb Ab
Yok bu halime bi çare, bir mehtaba avare
Cm Bb Ab
Şarkımı söyler dururum belki duyarsın diye
Cm Bb Ab
Sinirliyim saçım başım dağınık, üzgünüm birazcık
Cm
Yine aynı, sensiz uyandım
Bb Ab Cm
Senin kokun hapis olurdu tenime bir önemi kalmadı
Bb Ab
Ama yok yok yok yok yok
Cm
Bir önemi yok yok yok yok yok
Bb Ab
Ama yok yok yok yok yok
Cm Bb Ab
Bir önemi yok yok yok yoook
Cm
Bu aşk değil de ne be
Bb Ab
Bu aşk bu aşk değil de ne
Cm Bb Ab
Bu aşk değil de ne be
End of song Play again?
Feride Hilal Akın - Yok Yok Tabs
NotesX
Harmony analysis
Feride Hilal Akın – Yok Yok: key and chord analysis
The song opens on Cm and ends on Ab. 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 opens on Cm and Cm is heard 13 times while Eb never appears. 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 | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| 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 | 13× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 13× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 13× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| 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 | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| 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 | 13× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 13× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 39 times in total; 3 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
- Ab Cm EbIV → vi CmVI → iVI → i ×12
The move to watch is Ab → Cm, heard 12 times. From the Cm side it is VI → i (VI → i: falls a half step into home); from the Eb side it reads IV → 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 Bb, land on Bb, D, F — 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.
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
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Cm lays a solid floor for everything that follows. Cm, Bb, Ab carry the song: vi–V–IV relative to Eb, i–VII–VI relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Cm (IV → vi in Eb, VI → i in Cm): VI → i — falls a half step into home. The final chord is Ab; 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.
Feride Hilal Akın - Yok Yok 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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