Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Eypio - Günah Benim (Burak King) - Chord
Key Ab major – F minor Chords Cm, Fm, C# Easy key C
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Key: Ab | Fm
Capo: 0
Fm Cm Günah benim suç benim Fm Cm Kurdum bırak bu düş benim Fm Cm Bu kendime verdiğim rüşvetim C# Cm Dokunma elimde bi düşlerim var Fm Cm Yazarım derdimi kendime Fm Cm Kaderin benle bu derdi ne Fm Cm Fakir yar olmuyo zengine C# Cm Diyo davul bile dengi dengine Fm Cm Bak kalbimde cengime Fm Cm Yine kalmışım kendi kendime Fm Cm Sensin çare derdime C# Cm Verdim ömrümü vergine Fm Cm Yine kalmışım gece bir başına Fm Cm Bir başına girdim yılbaşına Fm Cm Dönmüşüm baktım en başına C# Cm Sarıldım bazen de yanlışıma Fm Cm Hep azap mı faça kolunda Fm Cm Söyle yar kasap mı hep hesap mı Fm Cm Yapılan akılda yat mı kat mı C# Cm Club mü pub mı bu bi iltifat mı Fm Cm Gönlüm kaçak yanında inzibat mı Fm Cm Uzaktayım kopan da irtibattı Fm Cm Kalbindeki söyle kir mi pas mı C# Cm Bana yazdıran bu gece kick mi bass mı Fm Cm Kumar bi aşk mı devam mı pas mı Fm Cm Garip bi yas mı o afgan mı fas mı Fm Cm Yanlış mı rast mı hep de cana kast mı C# Cm Aşk deniz gören evdeki teras mı
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Eypio - Günah Benim (Burak King) Tabs
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Harmony analysis
Eypio – Günah Benim (Burak King): key and chord analysis
The song opens on Fm and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it opens on Fm and Fm is heard 21 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 28× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | C# | Subdominant — moves away from home | C# · E# · G# | 7× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 21× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 21× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 28× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | C# | Submediant — warm colour | C# · E# · G# | 7× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 56 times in total; 3 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×20
The move to watch is Cm → Fm, heard 20 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- 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.
- Over C#, land on C#, E#, G# — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. Cm, Fm, C# carry the song: iii–vi–IV relative to Ab, v–i–VI relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. The final chord is Cm; the ear comes to rest in Ab.
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.
Eypio - Günah Benim (Burak King) 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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