Yavuz Bingöl - Ne Gelirse Sevdadan Gelir - Chord

Key Eb major – C minor Chords Bb, Cm, Eb, Fm, Ab Easy key G

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Capo 0

Fm  Fm  Cm  Eb  Bb  Bb  Ab  Bb  Cm

Cm                 Eb    Bb     Cm
Deli gönül Abdal olmuş gezer deryada
                      Eb     Bb   Cm
Bir nefeslik yolum kalmış varamam sana
Fm              Cm       Eb
Düştüm bir deli, deli sevdaya
Bb                Ab   Bb       Cm
Gönül sana bu dert yetmez mi sandın

Fm                       Eb   Bb    Eb
Ne gelirse benim de başa sevdadan gelir
Bb              Ab   Bb    Cm 
Sevdadan gelir, sevdadan gelir
Fm                Eb   Bb   Eb
Gelir ise ölüm de inan az gelir
Bb             Ab   Bb    Cm 
İnan az gelir, inan az gelir

Fm  Fm  Cm  Eb  Bb  Bb  Ab  Bb  Cm

Cm                 Eb        Bb   Cm
Savruluyor ömrüm benim tozlu yollarda
               Eb      Bb     Cm
Avareyim dolanırım gurbet bağında
Fm         Cm          Eb
Kapılmışım bir hain rüzgara
Bb                   Ab   Bb       Cm
Gönül sana fırtınalar yetmez mi sandın

Fm                       Eb   Bb    Eb
Ne gelirse benim de başa sevdadan gelir
Bb              Ab   Bb    Cm 
Sevdadan gelir, sevdadan gelir
Fm                Eb   Bb   Eb
Gelir ise ölüm de inan az gelir
Bb             Ab   Bb    Cm 
İnan az gelir, inan az gelir

End of song Play again?

Yavuz Bingöl - Ne Gelirse Sevdadan Gelir Tabs

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Harmony analysis

Yavuz Bingöl – Ne Gelirse Sevdadan Gelir: key and chord analysis

The song opens on Fm and ends on Cm. 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 comes to rest on Cm and Cm is heard 18 times against 16 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	Eb	Tonic — home	Eb · G · Bb	16×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	10×
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	26×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	18×
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	18×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	16×
iv	Fm	Subdominant — moves away from home	F · Ab · C	10×
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	26×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 78 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 ×12
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×8
Bb Eb EbV → Iauthentic cadence CmVII → III ×4
Fm Cm Ebii → vi Cmiv → iminor plagal ×4

The move to watch is Bb → Cm, heard 12 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 Bb, land on Bb, D, F — 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.
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

4 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. The backbone is Bb, Cm, Eb, Fm — V–vi–I–ii from the Eb side, VII–i–III–iv from the Cm side. 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. It closes on Cm, letting the Cm side have the last word.

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.