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)
Yüzyüzeyken Konuşuruz - Uzatma N'olursun 2 - Chord
Key Eb major – C minor Chords Bb, Ab, Cm, Gm, G# Easy key G
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Key: Eb | Cm
Capo: 0
Cm Bb Ab Bb
Seni kaybetmek Beylikdüzü'nde yaşamak gibi
Cm Bb Ab Bb
Ne yazık ki ikisi de hayatımın gerçekliği
Gm G#
Öyle deme nolursun
Gm Ab Bb
Beni dinlemeden gitme pişman olursun diyorum
Cm Bb Ab Bb
Bide pişkin pişkin pişkin pişkin pişkin pişkin
Cm Bb Ab Bb
Sanki ben masumum da sen kendiliğinden değiştin
Cm Bb Ab Bb
Bunu kabullenmek bunla yaşamak çok yorucu
Cm Bb Ab Bb
Ben yapamıyom peki kim ödeyecek bu borcu
Gm G#
Böyle yapma nolursun
Gm Ab Bb
Beni dinlemeden gitme pişman olursun diyorum
Cm Bb Ab Bb
Bide pişkin pişkin pişkin pişkin pişkin pişkin
Cm Bb Ab Bb
Sanki ben masumum da sen kendiliğinden değiştin
Gm Ab Gm Ab Gm Ab Gm G#
Cm Bb Ab Bb
Bak nolursun dinle beni gitme sana muhtacım
Cm Bb Ab Bb
Peki ben bana muhtaç adamı ne yapayım
Gm G#
Pınar bunu deme nolursun
Gm Ab Bb
Beni dinlemeden gitme pişman olursun diyorum
Cm Bb Ab Bb
Bide pişkin pişkin pişkin pişkin pişkin pişkin
Cm Bb Ab Bb
Sanki ben masumum da sen kendiliğinden değiştin
End of song Play again?
Yüzyüzeyken Konuşuruz - Uzatma N'olursun 2 Tabs
NotesX
Harmony analysis
Yüzyüzeyken Konuşuruz – Uzatma N'olursun 2: key and chord analysis
The song opens on Cm and ends on Bb. 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 12 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 | 10× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 18× |
| IV | G# | Subdominant — moves away from home | G# · B# · D# | 4× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 27× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 12× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 12× |
| 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 | 10× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 18× |
| VI | G# | Submediant — warm colour | G# · B# · D# | 4× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 27× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 71 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
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×15
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×10
- G# Cm EbIV → vi CmVI → iVI → i ×1
The move to watch is Ab → Bb, heard 15 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 Ab, land on Ab, C, Eb — 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.
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, Ab, Cm, Gm carry the song: V–IV–vi–iii relative to Eb, VII–VI–i–v 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. It closes on Bb, letting the Eb 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.
Yüzyüzeyken Konuşuruz - Uzatma N'olursun 2 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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