Evdeki Saat - Hiç Uyanmasam - Chord

Key Eb major – C minor Chords Fm7, Gm7, Ebmaj7 Easy key C (capo 3)

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Capo 0

Gm7     Fm7  Gm7     Fm7
Ebmaj7  Fm7  Ebmaj7  Fm7

Gm7
Çatlamış sabır taşım
              Fm7
Ve gözyaşım deniz olur
                     Gm7
Sektiririm üstünde sekiz dokuz
                     Fm7
İşte böyle aklımın hazin sonu

                        Ebmaj7
Yok mu bunu def etmenin bir yolu
                        Fm7
Yok mu bunun kurtarılır bir yanı
                         Ebmaj7
Ve orda burda gördüğünde sen beni
                       Fm7
Sanma sakın nefes alan bir ölü

                         Gm7
Çünkü benim hiç bir işim yok
      Fm7       Gm7
Gücüm yok başım yok
      Fm7       Ebmaj7
Sonum yok neden yok
      Fm7       Ebmaj7
Bilen yok gelen yok
      Fm7
Giden yok, yok, yok

Gm7       Fm7
Hiç uyanmasam
   Gm7        Fm7
Dünya döner devam
     Ebmaj7
Bu cehennemde bu boşlukta hiç
Fm7
Yer kaplamasam
    Ebmaj7
Gidemem ben buna bağlandım
   Fm7
Durdum saçmasapan

Gm7     Fm7  Gm7     Fm7
Ebmaj7  Fm7  Ebmaj7  Fm7

Gm7
Yalnızım en az bir korkuluk kadar
   Fm7
Ve ansızın akşamüstü bastı bir
  Gm7 
Keder, hüzün inan bu iş beni aşar
  Fm7                             Ebmaj7
Dedim bi gün olursa olur olmadı kader
                            Fm7
Kesin, altını çizin kanatın her sözün
                         Ebmaj7
Ben midyelerin ortasında bir yosun
                          Fm7
İster irdeleyin ister üstüne basın

                         Gm7
Çünkü benim hiç bir işim yok
      Fm7       Gm7
Gücüm yok başım yok
      Fm7       Ebmaj7
Sonum yok neden yok
      Fm7       Ebmaj7
Bilen yok gelen yok 
      Fm7
Giden yok, yok, yok

Gm7       Fm7
Hiç uyanmasam
   Gm7        Fm7
Dünya döner devam
     Ebmaj7
Bu cehennemde bu boşlukta hiç
Fm7
Yer kaplamasam
    Ebmaj7
Gidemem ben buna bağlandım
   Fm7
Durdum saçmasapan

End of song Play again?

Evdeki Saat - Hiç Uyanmasam Tabs

NotesX

Harmony analysis

Evdeki Saat – Hiç Uyanmasam: key and chord analysis

The song opens on Gm7 and ends on Fm7. 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 Eb major side because Eb is heard 16 times while Cm never appears. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.

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
Imaj7	Ebmaj7	Tonic — home	Eb · G · Bb · D	16×
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	32×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	16×
III	G	Chromatic colour chordoutside the key	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	—
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	—
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
IIImaj7	Ebmaj7	Relative major — the bright side	Eb · G · Bb · D	16×
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	32×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	16×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 64 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Ebmaj7, land on Eb, G, Bb — 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

3 semitones down · capo 3 keeps the original pitch
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The opening Gm7 lays a solid floor for everything that follows. Fm7, Gm7, Ebmaj7 carry the song: ii7–iii7–Imaj7 relative to Eb, iv7–v7–IIImaj7 relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Fm7, 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.