Ahmet Kaya - Acılara Tutunmak - Chord

Key Eb major – C minor Chords Bb, Cm, Fm, G, Eb, Ab, Ddim Easy key C (capo 3)

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Capo 0

  
Cm  Fm  Bb  Eb  Ab  Fm  Bb  Ddim  Bb  G  Bb

Cm                 Fm  G            Cm
Acı çekmek özgürlükse,  özgürüz ikimiz de
Ab            Bb    G               Cm
O yuvasız çalıkuşu, bense kafeste kanarya
          Fm          Bb               Eb
O dolaşmış daldan dala, savurmuş yüreğini 
Cm               Fm            Bb        G
Ben bölmüşüm yüreğimi, başkaldıran dizelere

Cm        Fm          Bb         Eb
Aramakmış oysa sevmek, özlemekmiş oysa sevmek
Ab         Bb          G             Bb   Eb
Bulup bulup yitirmekmiş, düşsel bir oyuncağı
Cm      Fm          Bb        Eb
Yalanmış hepsi yalan, yalanmış hepsi yalan
Ab         Bb             G                       Cm
Sevmek diye bir şey varmış, sevmek diye bir şey yokmuş

Cm  Fm  Bb  Eb  Ab  Fm  Bb  Ddim  Bb  G  Bb

Cm              Fm  G             Cm
Acı çektim günlerce, acı çektim susarak 
Ab              Fm     G               Cm
Şu kısacık konuklukta, deprem kargaşasında
               Fm      Bb             Eb
Yaşadım birkaç bin yıl, acılara tutunarak
Cm               Fm      Bb          G
Acı çekmek özgürlükse, özgürüz ikimizde

Cm       Fm         Bb       Eb
Acılardan arta kalan, işte bu bakışlarmış
Ab       Bb          G           Bb   Eb
Buğu diye gözlerinde, gün batımı bulutlarmış
Cm      Fm          Bb        Eb
Yalanmış hepsi yalan, yalanmış hepsi yalan
Ab      Bb            G               Cm
Savrulup gitmek varmış ayrı yörüngelerde

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Ahmet Kaya - Acılara Tutunmak Tabs

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Harmony analysis

Ahmet Kaya – Acılara Tutunmak: 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.

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)
#7 = B (harmonic-minor leading tone from the V chord)

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, Cm is heard 16 times against 10 for Eb and the major V chord points straight at Cm. 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	10×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	15×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	12×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	8×
V	Bb	Dominant — strongest pull home	Bb · D · F	23×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	16×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	2×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	16×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	2×
III	Eb	Relative major — the bright side	Eb · G · Bb	10×
iv	Fm	Subdominant — moves away from home	F · Ab · C	15×
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	12×
VI	Ab	Submediant — warm colour	Ab · C · Eb	8×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	23×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 86 times in total; 6 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm.

Chord movement

Fm Bb Ebii → Vii → V Cmiv → VII ×12
Bb Eb EbV → Iauthentic cadence CmVII → III ×10
G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×8
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×5
Fm G Ebii → V/vi Cmiv → Viv → V ×3
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2

The move to watch is Fm → Bb, heard 12 times. From the Cm side it is iv → VII; from the Eb side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
When G comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.

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

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

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. Bb, Cm, Fm, G carry the song: V–vi–ii–V/vi relative to Eb, VII–i–iv–V relative to Cm. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Fm → Bb (ii → V in Eb, iv → VII in Cm): ii → V — the classic preparation of the dominant. 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.

Ahmet Kaya - Acılara Tutunmak 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: Hasan Hüseyin Korkmazgil

Music: Ahmet kaya

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