Emre Fel - Cevahir - Chord

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

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Capo 0

Gm  Bb  Cm  Bbm  Gm
Cm  Gm  Fm  Gm  Cm  Gm  Fm  Gm

Gm    Bb
Elbet günü gelir
  Cm             Gm
Elbet yeniden açarım
Cm               Gm
Saklı dört yanım ah yedi renk
     Fm              Gm
Ne günahtan uzak kaçarım heyhat
Cm             Gm
Derdi sefa bilirim
            Fm
Güzel aldanırım
             Gm
Bu sefer kanamam eyvah

Gm           Bb
Mağlup olmuş mendili saklar
Fm              Gm
Nakışta süslüce laflar
Cm             Gm
Gözleri ahu, derince bakışlar
Fm             Gm              Cm
Eteklerinde ki taşla örülmüş o mevzu duvarda ki
Gm             Fm               Gm
İsmi kazırlar, yazmaya yok ki mecalim

Gm         Bb
Sahi sormuşsun bi’ telaşla
Fm             Gm
Akılda baki mi aşklar
Cm             Gm
Bendeki hali görenler ayıplar
Fm              Gm
Çekme cezayı hu değil mi fani
Cm             Gm
Verdi cefayı senin mi günahlar
Fm              Gm
Gönülde saklı cevahir

Gm  Bb  Cm  Bbm  Gm
Cm  Gm  Fm  Gm  Cm  Gm  Fm  Gm

Gm          Bb
Nerde benim ahu gülüm
   Cm             Gm
Nerde bulamam yanarım
Cm            Gm              Fm
Yedi renkten uzakta sefil kalırım
              Gm
Ciğerimde bir urgan
Cm             Gm
Sarmalanır dururum
            Fm                Gm
Deli bağlanırım, diyemem beni kurtar

Gm           Bb
Mağlup olmuş mendili saklar
Fm              Gm
Nakışta süslüce laflar
Cm             Gm
Gözleri ahu, derince bakışlar
Fm             Gm              Cm
Eteklerinde ki taşla örülmüş o mevzu duvarda ki
Gm             Fm               Gm
İsmi kazırlar, yazmaya yok ki mecalim

Gm         Bb
Sahi sormuşsun bi’ telaşla
Fm             Gm
Akılda baki mi aşklar
Cm             Gm
Bendeki hali görenler ayıplar
Fm              Gm
Çekme cezayı hu değil mi fani
Cm             Gm
Verdi cefayı senin mi günahlar
Fm              Gm
Gönülde saklı cevahir

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Emre Fel - Cevahir Tabs

NotesX

Harmony analysis

Emre Fel – Cevahir: 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 C minor side because Cm is heard 20 times while Eb never appears. 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	20×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	48×
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	8×
v	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	2×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	20×
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	20×
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	20×
v	Gm	Minor dominant — soft pull	G · Bb · D	48×
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	8×
vii	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	2×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 98 times in total; 4 of them sit naturally inside the shared scale. Bbm step outside the scale as colour chords.

Chord movement

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×16
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×4

The move to watch is Gm → Cm, heard 16 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → 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 Gm, land on G, Bb, D — 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 Fm, 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

The opening Gm lays a solid floor for everything that follows. The backbone is Gm, Cm, Fm, Bb — iii–vi–ii–V from the Eb side, v–i–iv–VII from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. 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.