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)
Gözde Öney - Kavga - Chord
Key Eb major – C minor Chords Cm, Ab, Bb, Fm, Eb, G Easy key G
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Key: Eb | Cm
Capo: 0
Cm Ab Cm Ab Cm Bb Eb G Cm Ab İçinde yarattığın boşluktan at kendini Cm Ab Kolay olmayan ne varsa yap, yor kendini Bb Saklı kalmış yüzün, mavi gündüzün gibi Fm Cm Fm Karış kalabalıklara, kavgaysa kavga, ne var sanki Cm Ab Cm Ab Cm Bb Eb G Ab Bb Yüksekten mi yoksa, düşmekten mi Ab Bb Kalmaktan mı yoksa, gitmekten mi Ab Bb Cm Yüksekten mi yoksa, düşmekten mi, korkarsın Cm Fm Ne bir arada ne de yalnız olamayan insanlar gibi Bb Cm Denedin durdun bu çelişki içinde boğuldun Göründüğü kadar zor değil anlamak Fm İmkansız gelir kendine inanmak Bb G Aklın karışır, kalbinle yarışır Fm Cm Eb Bb Fm Cm Eb G
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Gözde Öney - Kavga Tabs
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Harmony analysis
Gözde Öney – Kavga: key and chord analysis
The song opens on Cm and ends on G. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
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 opens on Cm, Cm is heard 14 times against 4 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | 4× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 6× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 4× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 9× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 9× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 14× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| 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 | 4× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 6× |
| 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 | 4× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 9× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 9× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 46 times in total; 5 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
- Ab Cm EbIV → vi CmVI → iVI → i ×5
- Fm Cm Ebii → vi Cmiv → iminor plagal ×4
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×4
- Bb Eb EbV → Iauthentic cadence CmVII → III ×2
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2
- Fm Bb Ebii → Vii → V Cmiv → VII ×2
The move to watch is Ab → Cm, heard 5 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 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.
- Over Bb, land on Bb, D, F — 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
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Cm lays a solid floor for everything that follows. The backbone is Cm, Ab, Bb, Fm — vi–IV–V–ii from the Eb side, i–VI–VII–iv from the Cm side. 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 Ab → Cm (IV → vi in Eb, VI → i in Cm): VI → i — falls a half step into home. It closes on G, 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.
Gözde Öney - Kavga 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: Gözde ÖneyMusic: Gözde ÖneyArrangement: Efe Demiral
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