Gökhan Tepe - Belki Hüzün Belki de Aşk - Chord

Key Eb major – C minor Chords Fm, Cm, Bb, Gm, C7, Ab, G7 Easy key C (capo 3)

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Capo 0

Cm                                 C7     Fm	 
Unutulmuş kurutulmuş günlerim var avuçlarımda
Bb                    G7                       Cm                              
Belki hüzün belki de aşk dolaşıyor damarlarımda
Cm                                     C7        Fm
Hatıralar başucumda gülerken ağladım  canım yıllarca
Bb                     G7                       Cm
Sende bahar alşıkanlık bense kışın tam ortasında
Fm                Gm    Cm      Bb             Fm                         
Kolay değil unutulmak yaşanılan bir şeyler var
Fm                Eb       Cm    Bb          Gsus4-G
Belki son kez ağlıyorum ayrılığa giden bu yollarda
Cm                     Bb       Ab    C7  Fm
Tanrım affedermi kahredip çekip gidenleri
Bb           Ab           Gm  Fm    Gm    
Kalmadı cesaretim ben affetmem seni
Cm                     Bb    Ab      C7  Fm
Tanrım affedermi kahredip kaçıp gidenleri
Bb           Ab           Gm  Fm    Gm
Yıkılmadı esaretim ben affetmem seni

End of song Play again?

Gökhan Tepe - Belki Hüzün Belki de Aşk Tabs

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Harmony analysis

Gökhan Tepe – Belki Hüzün Belki de Aşk: key and chord analysis

The song opens on Cm 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)
#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 7 times while Eb never appears 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	8×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	5×
V7/vi	G7	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D · F	2×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	4×
V	Bb	Dominant — strongest pull home	Bb · D · F	7×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	7×
V7/ii	C7	Secondary dominant V/ii — leads to Fmsecondary dominant	C · E · G · Bb	4×
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	7×
V7/iv	C7	Secondary dominant V/iv — leads to Fmsecondary dominant	C · E · G · Bb	4×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	8×
v	Gm	Minor dominant — soft pull	G · Bb · D	5×
V7	G7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D · F	2×
VI	Ab	Submediant — warm colour	Ab · C · Eb	4×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	7×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 37 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 G7 is V7/vi, a secondary dominant heading for Cm. C7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

C7 Fm EbV7/ii → iisecondary resolution CmV7/iv → iv ×4
Fm Bb Ebii → Vii → V Cmiv → VII ×4
G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×2
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×2
Fm Cm Ebii → vi Cmiv → iminor plagal ×1

The move to watch is C7 → Fm, heard 4 times. From the Cm side it is V7/iv → iv; from the Eb side it reads V7/ii → ii (secondary resolution: C7 resolves a fourth up to Fm). 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 Fm, land on F, Ab, 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.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
When G7 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

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. The chords that keep coming back are Fm, Cm, Bb, Gm; read them as ii–vi–V–iii in Eb or iv–i–VII–v in Cm. C7 is the interesting twist: in Eb it is a chromatic chord (V7/ii), while in Cm it becomes the dominant (V7/iv) that makes the minor side sound so determined. Keep an ear on C7 → Fm (V7/ii → ii in Eb, V7/iv → iv in Cm): secondary resolution — C7 resolves a fourth up to Fm. 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.