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)
Zeynep Bastık - Misafir - Chord
Key Eb major – C minor Chords Cm7, Gm7, Fm7, Ab, G7 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm7 Gm7 Fm7 Ab G7
Cm7 Gm7
Yanıbaşımdın, kapı komşumdun
Omuz oldun her acıma
Fm7 Ab
Gözün yüksekteydi, hiç inemedin yeryüzüne
Cm7 Gm7
Farklıyız bi'çok açıdan, değişemem sen gibi hep
Bana verdi zarar
Fm7 Ab
Zehir eden yazı bile geçmeden kış
Bunu seçmedin mi?
Cm7 Gm7
Arada misafir gel, ara beni n'olur, n'olur
Fm7 Ab G7
Sensizken maviler kararıyo' soldum, soldum
Cm7 Gm7
Güneşim attı çoktan, gördü kalbim hep yanlışı doğru
Fm7
Nasıl dağıtırım bu kafayı ben?
Ab G7
Kadehimi doldur, doldur, doldur
Cm7 Gm7 Fm7
Kaldı kalbim ıssız, düşünmedim hiç n'aparım sensiz
Ab G7
Seneler boyu çaldın her şeyimi de benden, hırsız
Cm7 Gm7
Ne hâlim varsa gördüm, sevemedi beni kaderim bile
Fm7 Ab G7
Hiç olmadı gönlüm arsız, istediğim olmadı, diledim dilek
Cm7 Gm7
Eski tadı yok hiç yediğim yemeğin bile
Fm7 Ab G7
Her gün gözyaşlarımla öldüm yastığımda
Cm7 Gm7
Hiç sormadım "Neden yadırgarım yerimi?"
Fm7 Ab G7
Bi' bakışın silmeye yeter haritadan beri
Cm7 Gm7
Arada misafir gel, ara beni n'olur, n'olur
Fm7 Ab G7
Sensizken maviler kararıyo' soldum, soldum
Cm7 Gm7
Güneşim attı çoktan, gördü kalbim hep yanlışı doğru
Fm7
Nasıl dağıtırım bu kafayı ben?
Ab G7
Kadehimi doldur, doldur, doldur
x2
End of song Play again?
Zeynep Bastık - Misafir Tabs
NotesX
Harmony analysis
Zeynep Bastık – Misafir: key and chord analysis
The song opens on Cm7 and ends on G7. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
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 11 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | — |
| ii7 | Fm7 | Supertonic — prepares the dominant | F · Ab · C · Eb | 11× |
| iii7 | Gm7 | Mediant — a tonic-family shade | G · Bb · D · F | 11× |
| V7/vi | G7 | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D · F | 9× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 11× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 11× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 11× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv7 | Fm7 | Subdominant — moves away from home | F · Ab · C · Eb | 11× |
| v7 | Gm7 | Minor dominant — soft pull | G · Bb · D · F | 11× |
| V7 | G7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D · F | 9× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 11× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 53 times in total; 4 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.
Chord movement
- G7 Cm7 EbV7/vi → vi7secondary resolution CmV7 → i7harmonic-minor cadence ×8
- Ab Cm7 EbIV → vi7 CmVI → i7VI → i ×2
The move to watch is G7 → Cm7, heard 8 times. From the Cm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V7/vi → vi7 (secondary resolution: G7 resolves a fourth up to Cm7). 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 Cm7, land on C, Eb, G — 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.
- 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
The first chord is Cm7; the ear learns where home is within a second. The chords that keep coming back are Cm7, Gm7, Fm7, Ab; read them as vi7–iii7–ii7–IV in Eb or i7–v7–iv7–VI in 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 G7 → Cm7 (V7/vi → vi7 in Eb, V7 → i7 in Cm): harmonic-minor cadence — the major V resolves dramatically. It closes on G7, 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.
Zeynep Bastık - Misafir Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Ediz OrhonsayınMusic: Ediz Orhonsayın
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