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)
Adamlar - Kapısı Kapalı - Chord
Key Eb major – C minor Chords Cm, Gm, F, Ab, G, Bb, Eb Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Gm Abi kafanda kurbağa var abi kafanda kurup kurup vuruyosun oğa buğa yaşlı bi kurbağa var bin yaşında var başında sis var kurbağanın altında sen var Cm Gm Sen bi salondasın, sanıyosun ki okyanustasın ama işte salondasın, yanında ismet var ismetler gelir ismetler gider sen başarırsın ismet sevinir gerisi eski püskü boktan sandıklarda çürür sen düşersin ismet kaldırır Cm Gm Oyun biter oyun susar sonunda kartlar açılır ne gördüğüm gördüğün gibidir aslında ve de ne duyduğun şu an senin olduğun duymakta Eb Ab G Cm Gm Kapısı kapalı etrafı sarılı F Ab Cm Bb F G içimizde yürür hiç görmeyiz onu Cm Gm sözleri fısıltı kalbinden asıldı F Ab Cm Bb F G bi büyük boşluğa her şeyi dağıldı Cm Gm Mevsimlerine bölemezsin onları çünkü onlar ordalar burdalar falan sanarken aslında kaçıncı kaçak katı çıktılar sen uykudayken evini bastılar sen düşünürken, onlar buldular sen peşindeyken onlar tadına baktılar balıktın sen bi balıktın havuzda ama çamurdu üstün başın almadılar oyunlarına ve baktılar yollarına sen ileriyi düşündün, ilerleyemedin sen geriyi düşündün, deliğe geriledin onlar kimdi unuttun sahi onlar kim oğlum siz kimsiniz ulan, soruyom ismete elimdeki tahtalarla ev yapıcam kendime neden onun yerine alıp ensenize vuriyim? Cm Gm Yaratmak için kendimi yaralardım eskiden yarım yarım harcardım kendimi hiç bitmem sanarken bu çöplüğü düzene koymak için içimi döktüm her yere sonra istemedim içim yem olsun bi hergeleye ya da bi kertenkeleye Cm Gm Sokağa çıktım sokak benimdi benim kadar da senindi ve bunu bilen kör bi dilenci ansızın çok sevindi Cm Gm Dedi ki: al bu kafayı sepeti ekle binbir türlü mavra söyle al bu kafayı sepeti ekle binbir türlü mavra söyle al bu kafayı sepeti ekle binbir türlü mavra söyle Eb Ab G Cm Gm Kapısı kapalı etrafı sarılı F Ab Cm Bb F G içimizde yürür hiç görmeyiz onu Cm Gm sözleri fısıltı kalbinden asıldı F Ab Cm Bb F G bi büyük boşluğa her şeyi dağıldı
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Adamlar - Kapısı Kapalı Tabs
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Harmony analysis
Adamlar – Kapısı Kapalı: key and chord analysis
The song opens on Cm and ends on G. 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 15 times against 2 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | 2× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| V/V | F | Secondary dominant V/V — leads to Bbsecondary dominant | F · A · C | 8× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 11× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 6× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 6× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 4× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 15× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 15× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 2× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| IV | F | Major IV — Dorian / melodic-minor colourmodal colour | F · A · C | 8× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 11× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | 6× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 6× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 4× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 52 times in total; 5 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 G is V/vi, a secondary dominant heading for Cm. F acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×5
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×5
- Ab Cm EbIV → vi CmVI → iVI → i ×4
The move to watch is G → Cm, heard 5 times. From the Cm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V/vi → 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- When G 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
- 2 semitones up
The song's harmonic story
The opening Cm lays a solid floor for everything that follows. The backbone is Cm, Gm, F, Ab — vi–iii–V/V–IV from the Eb side, i–v–IV–VI from the Cm side. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G → Cm (V/vi → vi in Eb, V → i in Cm): harmonic-minor cadence — the major V resolves dramatically. It closes on G, 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.
Adamlar - Kapısı Kapalı 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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