Fettah Can - Hazine - Chord

Key Eb major – C minor Chords Gm, G#, Fm, Bb Easy key C (capo 3)

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Capo 0

G#   Fm   Gm   Fm   Gm    

Gm          G# 
Görmeyi denedim
Gm       G#
Gönül gözüyle
Bb                      Fm       Gm
Yaşamadım bilmiyordum aşkmış hazine    

Gm        G#
Sorun etmedim
Gm         G#
Bakınca maziye
Bb                            Fm      Gm         G#      Gm
Bir baktım bin ders aldım kısmetmiş bugüne, kısmetmiş bugüne

Gm                             Fm
Oysa sana ne kadar ihtiyacım varmış
Bb                       G#       Gm 
Yüzüme konan gülücükler uçup gitmiyor
Gm                           Fm
Yanında zaman ne kadarda kısaymış
Bb                  G#      Bb    Fm   Gm  
Yoksun ya günler geçip gitmiyor

End of song Play again?

Fettah Can - Hazine Tabs

NotesX

Harmony analysis

Fettah Can – Hazine: key and chord analysis

The song opens on G# and ends on Gm. 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)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between Eb major and C minor. Try reading the chords both ways and see which feels more like home to you.

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
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	7×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	13×
III	G	Chromatic colour chordoutside the key	G · B · D	—
IV	G#	Subdominant — moves away from home	G# · B# · D#	8×
V	Bb	Dominant — strongest pull home	Bb · D · F	5×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	—
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	—
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	7×
v	Gm	Minor dominant — soft pull	G · Bb · D	13×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	G#	Submediant — warm colour	G# · B# · D#	8×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	5×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 33 times in total; 4 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

G# Bb EbIV → VIV → V CmVI → VIIVI → VII ×3
Fm Bb Ebii → Vii → V Cmiv → VII ×2

The move to watch is G# → Bb, heard 3 times. From the Eb side it reads IV → V (IV → V: the lift that builds tension before home); from the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over G#, land on G#, B#, D# — 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.

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
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The opening G# lays a solid floor for everything that follows. The backbone is Gm, G#, Fm, Bb — iii–IV–ii–V from the Eb side, v–VI–iv–VII from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G# → Bb (IV → V in Eb, VI → VII in Cm): IV → V — the lift that builds tension before home. The final chord is Gm; 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.