Athena - Hep Aynı - Chord

Key Bb major – G minor Chords Bb, Ab, Eb, Cm, G Easy key D

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Capo 0

Eb  Bb  Ab  Bb  Eb  Bb  Ab  Bb

  Eb         Bb        Ab         Bb
Zamanı hep yalan belki boştur olanlar
     Cm      Bb          Ab          Bb
Yakınmak çok saçma çünkü yoktur kaçanlar
  Eb         Bb        Ab           Bb     Cm
Uzaksın kendine içinde var bir değişme ulaşsam
      Bb           Ab      Bb
Zaten sormazdım ki oda nerede

Eb           Cm           Bb          G
Ben kendimle ölmek varken sen hep burada
    Ab        Bb        Eb        G  
Hep aynı, hep aynı, hep aynı, hep aynı
Ab    Bb           Eb        G    Ab  Bb
Senle birlikte hep aynı, hep aynı oooooo

Eb  Bb  Ab  Bb  Eb  Bb  Ab  Bb

  Eb             Bb          Ab          Bb
Neden hep sormak var, cevabı nerde kimde var
     Cm       Bb           Ab       Bb
Doğrusu bence yok ki hepsi aynı rüyalar
  Eb          Bb    Ab           Bb
Bakarsan bir eğer kayarsın iki değer
     Cm         Bb            Ab           Bb
Doğrusu, burdan çıkmak dersen öl ki çık benden

Eb           Cm           Bb          G
Ben kendimle ölmek varken sen hep burada
    Ab        Bb        Eb        G  
Hep aynı, hep aynı, hep aynı, hep aynı
Ab    Bb           Eb        G    Ab  Bb
Senle birlikte hep aynı, hep aynı oooooo

End of song Play again?

Athena - Hep Aynı Tabs

NotesX

Harmony analysis

Athena – Hep Aynı: key and chord analysis

The song opens on Eb and ends on Bb. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb major side because it comes to rest on Bb and Bb is heard 32 times while Gm never appears. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	32×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	6×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	14×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	—
V/ii	G	Secondary dominant V/ii — leads to Cmsecondary dominant	G · B · D	6×
bVII	Ab	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Ab · C · Eb	18×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	—
V/iv	G	Secondary dominant V/iv — leads to Cmsecondary dominant	G · B · D	6×
bII	Ab	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Ab · C · Eb	18×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	32×
iv	Cm	Subdominant — moves away from home	C · Eb · G	6×
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	14×
VII	F	Subtonic — steps back to the tonic	F · A · C	—

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 76 times in total; 3 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key. Ab is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Ab Bb BbbVII → IbVII → I GmbII → III ×18
Eb Bb BbIV → Iplagal cadence GmVI → III ×8

The move to watch is Ab → Bb, heard 18 times. From the Bb side it reads bVII → I (bVII → I: a rock / Mixolydian arrival); from the Gm side it is bII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
On Ab, follow the chord's notes (Ab · C · Eb) 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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The opening Eb lays a solid floor for everything that follows. The chords that keep coming back are Bb, Ab, Eb, Cm; read them as I–bVII–IV–ii in Bb or III–bII–VI–iv in Gm. G adds a moment of surprise: secondary dominant V/ii — leads to Cm. Keep an ear on Ab → Bb (bVII → I in Bb, bII → III in Gm): bVII → I — a rock / Mixolydian arrival. It closes on Bb, letting the Bb 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.