Tuğkan - Ecel (Aspova) - Chord

Key C major – A minor Chords Am, Fmaj7, G, Em Difficulty already in its easiest key

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Am  G  Fmaj7  Em

Am
 Hayat böyle nasıl geçer
Fmaj7
 Sanki geldi bize ecel
Am
 Bayat artık hepsi
Fmaj7   G
 Sen yok ben yok

   Am
Ya var ya da yok bu kez arkama bakmadan kaçtım hep aynı terane

Ya kal ya da git çünkü doldu vakit beni anlamaz oldu el alem

Artı ve eksimiz ters kutup hep bizi çekecek hiç etme müdahale
                                     Em
Yan yana hep bir çocuk bir köpek sıcacık yemek hep bir hayal et

  Am                       Fmaj7  Am
Yeter bul beni çok geç olmadan   (ey)
  Am                      Fmaj7  Am
Nedensizce bir sebep sormadan    sev
   Am                    Fmaj7  Am
Hatta o kabuslarından da baaaaahset
  Am                      Fmaj7  Am
Birazcık ağladıktan sonra dans   et

Am
 Hayat böyle nasıl geçer
Fmaj7
 Sanki geldi bize ecel
Am
 Bayat artık hepsi
Fmaj7   G
 Sen yok ben yok

Am
Nefret ettim dedim aşk filmlerinden
Gerçek hayatta yoktu böyle şeyler
Aslında sinirimden böyle söyledim
Ben o kadınları hiç hak etmedim
Şansım yok diye mızmızlandım
Belki kasa sırasındaydın bu evden çıksaydım
Belki aynı o filmdeki gibi olurdu
Geçmişimi sildirip de seni unutamasaydım

Am
 Hayat böyle nasıl geçer
Fmaj7
 Sanki geldi bize ecel
Am
 Bayat artık hepsi
Fmaj7   G
 Sen yok ben yok

End of song Play again?

Tuğkan - Ecel (Aspova) Tabs

NotesX

Harmony analysis

Tuğkan – Ecel (Aspova): key and chord analysis

The song opens on Am and ends on G. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 17 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	2×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	11×
V	G	Dominant — strongest pull home	G · B · D	4×
vi	Am	Relative minor — the melancholy side	A · C · E	17×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	17×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	—
v	Em	Minor dominant — soft pull	E · G · B	2×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	11×
VII	G	Subtonic — steps back to the tonic	G · B · D	4×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 34 times in total; 4 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

Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×7
Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×3
G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
Em Am Ciii → vi Amv → inatural-minor cadence ×2

The move to watch is Fmaj7 → Am, heard 7 times. From the Am side it is VImaj7 → i (VI → i: falls a half step into home); from the C side it reads IVmaj7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
Over G, land on G, B, 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The opening Am lays a solid floor for everything that follows. The chords that keep coming back are Am, Fmaj7, G, Em; read them as vi–IVmaj7–V–iii in C or i–VImaj7–VII–v in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fmaj7 → Am (IVmaj7 → vi in C, VImaj7 → i in Am): VI → i — falls a half step into home. It closes on G, letting the C 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.