Aydın Kurtoğlu - Tek - Chord

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

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Capo 0

Cm  Ab  Cm  Am

Cm                   Ab
 Bir gelsen görürdün halim hiç iyi değil
Cm               Ab
 Kalır mı yanına kalmasın dilerim
 
       Cm           Bb       Ab  Gm
Sen de unutulacaksın bu hayatta
    Fm                Gm    Ab
Yerime koyduğun bir ben kalacak sanma

Cm        Eb           Ab
 Bir anlıkmış bir yalanmış
                   Gm
Nasıl da iyi kandırmış
                 Fm
Kaybetmişiz sayende
Gm
 İyi mi böyle
 
Cm         Eb
 Ne çok sevdik
          Ab
Ne terk ettik
                      Gm
Ne de arkadaş kalabilidik
                  Fm
Sanki iki yabancıydık

Tek bedende

Cm  Eb  Ab  Ab

End of song Play again?

Aydın Kurtoğlu - Tek Tabs

NotesX

Harmony analysis

Aydın Kurtoğlu – Tek: 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.

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 opens on Cm and Cm is heard 8 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	3×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	3×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	5×
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×
#iv	Am	Chromatic colour chordoutside the key	A · C · E	1×
V	Bb	Dominant — strongest pull home	Bb · D · F	1×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	8×
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	8×
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	3×
v	Gm	Minor dominant — soft pull	G · Bb · D	5×
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×
#vi	Am	Chromatic colour chordoutside the key	A · C · E	1×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 30 times in total; 6 of them sit naturally inside the shared scale. Am step outside the scale as colour chords.

Chord movement

Ab Cm EbIV → vi CmVI → iVI → i ×4
Fm Cm Ebii → vi Cmiv → iminor plagal ×1
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×1

The move to watch is Ab → Cm, heard 4 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 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.
Over Gm, land on G, Bb, D — 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 backbone is Ab, Cm, Gm, Fm — IV–vi–iii–ii from the Eb side, VI–i–v–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 Ab → Cm (IV → vi in Eb, VI → i in Cm): VI → i — falls a half step into home. It closes on Ab, 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.