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)
Türkan Hazal - Kime Kin Ettin - Chord
Key Eb major – C minor Chords Bb, Cm, Ab, Fm, Gm, Eb Easy key G
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Key: Eb | Cm
Capo: 0
Cm Bb Ab Bb Fm Cm Kime kin ettin de giydin alları Ab Bb Yakın iken ırak ettin yolları Eb Bb Mihnet ile yetirdiğin gülleri Gm Ab Varıp gittin bir soysuza yoldurdun Fm Gm Cm Varıp gittin bir soysuza yoldurdun Cm Bb Ab Bb Fm Cm Sen beni sevseydin, arar bulurdun Ab Bb Zülüfün tellerine bağlar dururdun Eb Bb Madem ayrılmakmış senin muradın Gm Ab Niye beni ateş ile yandırdın Fm Gm Cm Niye beni ateş ile yandırdın Cm Bb Ab Bb Fm Cm Hicraniyem derki bakın halıma Ab Bb Dağlarda dayanmıyor ahuzarıma Eb Bb Elim ermez oldu kisb-i karıma Gm Ab Çünkü gülyüzlümü elden aldırdım Fm Gm Cm Çünkü gülyüzlümü elden aldırdım
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Türkan Hazal - Kime Kin Ettin Tabs
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Harmony analysis
Türkan Hazal – Kime Kin Ettin: 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 9 times against 3 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 | 3× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 6× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 6× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 9× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 12× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 9× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 9× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 3× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 6× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 6× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 9× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 12× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 45 times in total; 6 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 Bb EbIV → VIV → V CmVI → VIIVI → VII ×6
- Bb Eb EbV → Iauthentic cadence CmVII → III ×3
- Fm Cm Ebii → vi Cmiv → iminor plagal ×3
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3
The move to watch is Ab → Bb, heard 6 times. From the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IV → V (IV → V: the lift that builds tension before home). 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 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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Cm; the ear learns where home is within a second. Bb, Cm, Ab, Fm carry the song: V–vi–IV–ii relative to Eb, VII–i–VI–iv relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. The final chord is Cm; the ear comes to rest in Cm.
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.
Türkan Hazal - Kime Kin Ettin 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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Lyrics: Aşık HicraniMusic: Aşık Hicrani
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