Aynur Aydın - Kutuplar Murat Güneş - Chord

Key Eb major – C minor Chords Abmaj7, Gm7, Fm7, Ebmaj7, Bb, F7 Easy key C (capo 3)

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Capo 0

Abmaj7  Fm7  Gm7  Ebmaj7

Abmaj7                 Fm7
Sevişsem şimdi onla unutur muyum seni
    Gm7                        Bb
Kapanır mı eski defterler yol alır mı bu gemi
Abmaj7                  Fm7
Değişsem ben de artık olsam kötü biri
      Gm7                       Bb       Ebmaj7
Ya da gömsem bu kalbi aşk mezarına diri diri

Abmaj7     Fm7
İkimize de çok yazık olur
         Gm7               Ebmaj7
Ama daha çok bana birazcık da sana
  Abmaj7           Fm7
Eski şarkılarda kaldı gurur murur
           Gm7           Ebmaj7
Köpek gibi aşığım sana hâlâ

  Abmaj7     Fm7
Gidelim mi atlayıp arabaya
                 Gm7    Ebmaj7
Yeni evimiz olsun uzaklaaar
     Abmaj7      Fm7
Sen olunca sol yanımda
                      Gm7     Ebmaj7
Bana kısa mesafe zaten kutuplaaar

Abmaj7  Fm7  Gm7  Ebmaj7

         Abmaj7
Burası kıyamet beni affet
     F7
Sana hasret ölmeme izin verme
     Gm7
Geri dön ve kalbime hükmet
Bb
O ne güzel bi’ esaret

     Abmaj7
Az cesaret hadi sabret
   Fm7
İkiden bir olup yine sarılalım
     Gm7
Ve o anda kalalım mı
Bb               Ebmaj7
Ben sana hep müebbet

Abmaj7     Fm7
İkimize de çok yazık olur
         Gm7               Ebmaj7
Ama daha çok bana birazcık da sana
  Abmaj7           Fm7
Eski şarkılarda kaldı gurur murur
           Gm7           Ebmaj7
Köpek gibi aşığım sana hâlâ

  Abmaj7     Fm7
Gidelim mi atlayıp arabaya
                 Gm7    Ebmaj7
Yeni evimiz olsun uzaklaaar
     Abmaj7      Fm7
Sen olunca sol yanımda
                      Gm7     Ebmaj7
Bana kısa mesafe zaten kutuplaaar

End of song Play again?

Aynur Aydın - Kutuplar Murat Güneş Tabs

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Harmony analysis

Aynur Aydın – Kutuplar Murat Güneş: key and chord analysis

The song opens on Abmaj7 and ends on Ebmaj7. 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 it comes to rest on Eb and Eb is heard 12 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	12×
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	13×
V7/V	F7	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C · Eb	1×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	14×
III	G	Chromatic colour chordoutside the key	G · B · D	—
IVmaj7	Abmaj7	Subdominant — moves away from home	Ab · C · Eb · G	14×
V	Bb	Dominant — strongest pull home	Bb · D · F	4×
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	12×
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	13×
IV7	F7	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C · Eb	1×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	14×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VImaj7	Abmaj7	Submediant — warm colour	Ab · C · Eb · G	14×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	4×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 58 times in total; 5 of them sit naturally inside the shared scale. F7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Bb Ebmaj7 EbV → Imaj7authentic cadence CmVII → IIImaj7 ×2

The move to watch is Bb → Ebmaj7, heard 2 times. From the Eb side it reads V → Imaj7 (authentic cadence: the strongest arrival home); from the Cm side it is VII → IIImaj7. 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 Abmaj7, land on Ab, C, Eb — 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 Fm7, land on F, Ab, C — 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
4 semitones up

The song's harmonic story

Starting on Abmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Abmaj7, Gm7, Fm7, Ebmaj7; read them as IVmaj7–iii7–ii7–Imaj7 in Eb or VImaj7–v7–iv7–IIImaj7 in Cm. F7 adds a moment of surprise: secondary dominant V/V — leads to Bb. Keep an ear on Bb → Ebmaj7 (V → Imaj7 in Eb, VII → IIImaj7 in Cm): authentic cadence — the strongest arrival home. It closes on Ebmaj7, 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.