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)
Bilal Hancı - Oy Oy Sevduğum - Chord
Key Eb major – C minor Chords Gm, F, Cm, Bb, Eb Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Gm Cm F Bb Eb F Gm
Gm Cm
Ayağunde çorabun
F Bb
Biri yün biri pamuk
Eb F
Biri yün biri pamuk
Gm
Oy oy sevduğum oy oy
Gm Cm
Ben sana gönül vermem
F Bb
Sen unutursun çabuk
Eb F
Sen unutursun çabuk
Gm
Oy oy sevduğum oy oy
Gm Cm
Başundaki puşiyi
F Bb
Ne güzel bağlamişsun
Eb F
Ne güzel bağlamişsun
Gm
Oy oy sevduğum oy oy
Gm Cm
Gözlerinden bellidur
F Bb
Nazlı yar ağlamişsun
Eb F
Sevduğum ağlamişsun
Gm
Oy oy sevduğum oy oy
End of song Play again?
Bilal Hancı - Oy Oy Sevduğum Tabs
NotesX
Harmony analysis
Bilal Hancı – Oy Oy Sevduğum: key and chord analysis
The song opens on Gm and ends on Gm. 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)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Eb major and C minor. Try reading the chords both ways and see which feels more like home to you.
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 | 5× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| V/V | F | Secondary dominant V/V — leads to Bbsecondary dominant | F · A · C | 10× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 10× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | — |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 5× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 5× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 5× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 5× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| IV | F | Major IV — Dorian / melodic-minor colourmodal colour | F · A · C | 10× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 10× |
| 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 | 5× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 35 times in total; 4 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bb Eb EbV → Iauthentic cadence CmVII → III ×5
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×5
The move to watch is Bb → Eb, heard 5 times. From the Eb side it reads V → I (authentic cadence: the strongest arrival home); from the Cm side it is VII → III. 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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.
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
- 2 semitones up
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. Gm, F, Cm, Bb carry the song: iii–V/V–vi–V relative to Eb, v–IV–i–VII relative to Cm. F adds a moment of surprise: secondary dominant V/V — leads to Bb. Keep an ear on Bb → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. It closes on Gm, 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.
Bilal Hancı - Oy Oy Sevduğum 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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