Derya Bedavacı - Çık Artık Aklımdan - Chord

Key Eb major – C minor Chords Gm7, Fm7, Cm7, Abmaj7, Ebmaj7, Dbmaj7, G7, Bb Easy key C (capo 3)

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Capo 0

Cm7  Fm7  Gm7  Fm7  Ebmaj7  Dbmaj7  Cm7  G7

   Cm7       Gm7
Düştüm, düşerken dövüştüm
       Fm7               Ebmaj7
Hiçbir kavga beni temize çekmedi
   Abmaj7         Gm7
Sensiz, geçmişe gömüldüm
         Fm7              Ebmaj7
Ve bu dünler, benim içime sinmedi

        Fm7
Olur da bahsin geçer diye
          Gm7
Kaçıyorum kendimden bile
          Abmaj7
Karşılaşırsak birgün bir yerde
          Gm7
Vurma yüzüme

         Fm7
Hayalini duvarlara astığım
            Gm7
Dile gelse anlatsa yastığım
        Cm7      Bb       Abmaj7     Gm7
Bir tek eksiğim, bitmeyen açlığım, sensin

    Cm7        Gm7         Abmaj7      Gm7
Doluya koysam almaz, boşluklar beni sarmaz
    Abmaj7                   Gm7
O kadar şey, onca hatıra boşuna yaşanmış olamaz

    Fm7                  Gm7
Çık artık aklımdan ya da gir hayatıma
    Fm7
Eğrisi, doğrusu
       Gm7
Kalbim hep senden yana

End of song Play again?

Derya Bedavacı - Çık Artık Aklımdan Tabs

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Harmony analysis

Derya Bedavacı – Çık Artık Aklımdan: key and chord analysis

The song opens on Cm7 and ends on Gm7. 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 5 times against 3 for Eb 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
Imaj7	Ebmaj7	Tonic — home	Eb · G · Bb · D	3×
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	8×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	12×
V7/vi	G7	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D · F	1×
IVmaj7	Abmaj7	Subdominant — moves away from home	Ab · C · Eb · G	5×
V	Bb	Dominant — strongest pull home	Bb · D · F	1×
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	5×
bVIImaj7	Dbmaj7	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Db · F · Ab · C	1×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i7	Cm7	Tonic — home	C · Eb · G · Bb	5×
bIImaj7	Dbmaj7	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Db · F · Ab · C	1×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
IIImaj7	Ebmaj7	Relative major — the bright side	Eb · G · Bb · D	3×
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	8×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	12×
V7	G7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D · F	1×
VImaj7	Abmaj7	Submediant — warm colour	Ab · C · Eb · G	5×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 36 times in total; 6 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. Dbmaj7 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Gm7 Cm7 Ebiii7 → vi7 Cmv7 → i7natural-minor cadence ×2
G7 Cm7 EbV7/vi → vi7secondary resolution CmV7 → i7harmonic-minor cadence ×1

The move to watch is Gm7 → Cm7, heard 2 times. From the Cm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii7 → vi7. 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 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.
Over Cm7, land on C, Eb, G — 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.
On Dbmaj7, follow the chord's notes (Db · F · Ab · C) rather than the key's scale — it's a borrowed colour.

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 Cm7 lays a solid floor for everything that follows. Gm7, Fm7, Cm7, Abmaj7 carry the song: iii7–ii7–vi7–IVmaj7 relative to Eb, v7–iv7–i7–VImaj7 relative to Cm. G7 is the interesting twist: in Eb it is a chromatic chord (V7/vi), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Gm7 → Cm7 (iii7 → vi7 in Eb, v7 → i7 in Cm): natural-minor cadence — gentle, modal arrival. The final chord is Gm7; the ear comes to rest in Eb.

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.