Mavi Gri - Hayatım Leş - Chord

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

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Capo 0

Cm  Bb  Ab  Bb

Cm            Bb
Ateşle yaklaşıyor
Ab             Bb
Ne güzel ellerin var
Cm              Bb
Yanıyor değdiğinde
Ab                 Bb
Yaklaşık bin yıl kadar

Cm                 Bb
Ben başıboş boş bi boşlukta
   Ab                   Bb
Meczup gibi sarhoş gezerdim
Cm             Bb
Koş koş kurtar kendini dedi
     Ab                   Bb
Bana kalsa düzene küfrederdim

    Cm
İyi gelmiyor bana hayatım leş
    Bb
Düş çukurlarımı gördün tek tek
    Ab
Düz dediğin yolların hep tümsek
   Bb
Uçurumdan hallice

    Cm
İyi gelmiyor bana hayatım leş
    Bb
Dün dediklerime sövdüm tek tek
    Ab
Düz dediğin yolların hep tümsek
   Bb
Uçurumdan hallice

Cm  Bb  Ab  Bb

Cm              Bb
Tuttu mu bırakmıyor
Ab             Bb
Nasıl bela sevda bu
Cm               Bb
Usandım dön demekten
Ab             Bb
Gel kavuşalım artık

Cm                 Bb
Ben başıboş boş bi boşlukta
   Ab                   Bb
Meczup gibi sarhoş gezerdim
Cm             Bb
Koş koş kurtar kendini dedi
     Ab                   Bb
Bana kalsa düzene küfrederdim

    Cm
İyi gelmiyor bana hayatım leş
    Bb
Düş çukurlarımı gördün tek tek
    Ab
Düz dediğin yolların hep tümsek
   Bb
Uçurumdan hallice

    Cm
İyi gelmiyor bana hayatım leş
    Bb
Dün dediklerime sövdüm tek tek
    Ab
Düz dediğin yolların hep tümsek
   Bb
Uçurumdan hallice

End of song Play again?

Mavi Gri - Hayatım Leş Tabs

NotesX

Harmony analysis

Mavi Gri – Hayatım Leş: 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.

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 14 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.

Seen from Eb major
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	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	14×
V	Bb	Dominant — strongest pull home	Bb · D · F	28×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	14×
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	14×
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	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	14×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	28×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 56 times in total; 3 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 ×14
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×13

The move to watch is Ab → Bb, heard 14 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
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. Bb, Cm, Ab carry the song: V–vi–IV relative to Eb, VII–i–VI 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 Bb; the ear comes to rest in Eb.

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.