Funda Arar - Gamsız - Chord

Key Eb major – C minor Chords Gm, Fm, Bb, Eb Easy key C (capo 3)

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Capo 0

Gm  Gm  Bb  Fm  Gm

Gm
Koy verdim kalbimi yolunu bulsun diye
Bb       Fm     Gm
Artık teslim oldum ben

Çok sordum yoruldum ne umdum ne buldum
Bb       Fm      Gm
Artık gamsız oldum ben

Gm                              Fm
Şimdi bir yol bulup beni baştan doğursun
Bb              Fm     Gm
Hayat bildiği gibi yoğursun
                     Eb       Fm
Anılardan bir yangın başlatıp keşkelerle
Bb        Fm       Gm
Beni küllerimden savursun

Gm
Alsın beni benden çok mutsuzum halimden
Bb        Fm          Gm
Essin üstümüzde bir rüzgar
                    Eb
Çalsın artık içimde uçan kuşlar martılar
Bb          Fm         Gm
Kalksın üstümüzden bu efkar

Gm
Söz verdim kalbime üzülmesin halime
Bb      Fm      Gm
Aşka teslim oldum ben
Gm
Darılmasın hiç kimse sustum gücüm yettikçe
Bb       Fm     Gm
Artık gamsız oldum ben

Gm                              Fm
Şimdi bir yol bulup beni baştan doğursun
Bb              Fm     Gm
Hayat bildiği gibi yoğursun
                     Eb       Fm
Anılardan bir yangın başlatıp keşkelerle
Bb        Fm       Gm
Beni küllerimden savursun

Gm
Alsın beni benden çok mutsuzum halimden
Bb        Fm          Gm
Essin üstümüzde bir rüzgar
                    Eb
Çalsın artık içimde uçan kuşlar martılar
Bb          Fm         Gm
Kalksın üstümüzden bu efkar

Bb         Fm      Gm
Coşsun içimdeki dalgalar

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Funda Arar - Gamsız Tabs

NotesX

Harmony analysis

Funda Arar – Gamsız: 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.

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 4 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
I	Eb	Tonic — home	Eb · G · Bb	4×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	18×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	23×
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	14×
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	—
III	Eb	Relative major — the bright side	Eb · G · Bb	4×
iv	Fm	Subdominant — moves away from home	F · Ab · C	18×
v	Gm	Minor dominant — soft pull	G · Bb · D	23×
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	14×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 59 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

Fm Bb Ebii → Vii → V Cmiv → VII ×4

The move to watch is Fm → Bb, heard 4 times. From the Eb side it reads ii → V (ii → V: the classic preparation of the dominant); from the Cm side it is iv → VII. 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 Fm, land on F, Ab, C — 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.

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 first chord is Gm; the ear learns where home is within a second. Gm, Fm, Bb, Eb carry the song: iii–ii–V–I relative to Eb, v–iv–VII–III relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bb (ii → V in Eb, iv → VII in Cm): ii → V — the classic preparation of the dominant. Ending on Gm, the song seals Eb as home.

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.