Teoman - Zamparanın Ölümü 2 - Chord

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

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Capo 0

Cm                         Ab          G
Galiba kendinizi pek enteresan sanıyorsunuz
Cm                         Ab          G
Büyümeyen adam sendromu bu, ama yaşlanıyorsunuz
Cm                           Ab         G
Küstah taklidi yapan erkekler familyasından
Cm                        Ab         G
Milyarlarca zavallı adam midemi kaldıran
Cm                        Ab          G
Ya siz hala bıkmadınız mı hiç kendinizden
Cm                        Ab          G
Evinden uzak yalnız kovboy triplerinizden
Cm                         Ab          G
Hadi gelin uyuyun koynumda eğer çok isterseniz
Cm                          Ab          G
Ben uyanmadan giderseniz beni memnun edersiniz

Cm

Cm                           Ab            G
Pardon ama herhalde bizim de bir gururumuz var
Cm                           Ab         G
Nefret et ama acıma yeter ki istediğin kadar
Cm                           Ab        G
Halbuki güzel kent masalları vardı aklımda
Cm                              Ab         G
Mum ışığında anlatacağım kadın ve erkek hakkında

Ab         Bb            Eb      Cm
Tanırsınız benim gibileri boş sokaklardan
Ab          Bb             Eb           Cm
Çizgilere basmadan yürümeye çalışan insanlardan
     Ab        Bb        G
Ama dün akşam dedim ki kendi kendime

Cm
Düşünme, düşünme
Fm              Bb            Cm
Kim anlamış ki sen anlayasin böyle

Cm                           Ab        G
Geldim sevgili arabam düldül yalnızız yine
Cm                          Ab        G
Patlıycam çok sıkıldım kendimden ben bile
Cm                           Ab        G
1 ağustos böceğiydim ben ama kaybolmuş sazım
Cm                            Ab        G
Eyvah polis amcalar her yerde, galiba yan bastım
Cm                            Ab     G
Hiç üfletme memur abi, nefesim 95 oktan
Cm                              Ab        G
Valla patlarız alimallah yanımda kibrit çaksan
Cm                          Ab        G
Sen sormadan ben söyleyeyim ne ehliyet, ne ruhsat
Cm                            Ab         G
Ne de sigortam var, sadece bu meymenetsiz surat

Ab         Bb            Eb      Cm
Tanırsınız benim gibileri boş sokaklardan
Ab          Bb             Eb           Cm
Çizgilere basmadan yürümeye çalışan insanlardan
     Ab        Bb        G
Ama dün akşam dedim ki kendi kendime

Cm
Düşünme, düşünme
Fm              Bb            Cm
Kim anlamış ki sen anlayasin böyle

Cm                     Ab        G
Sağolsun memur abi anlayışlı çıktı
Cm                           Ab          G
Üzüldü halime, hadi git dedi, sakın sürme hızlı
Cm                        Ab        G
Gözüm kapalı bile giderim ben bu yollarda
Cm                                        Ab        G
Eh bi de yavaş kullanmak ayıp olur içtiğim onca şaraba

Bas gaza

Cm
Düşünme, düşünme
Fm              Bb            Cm
Kim anlamış ki sen anlayasin böyle

End of song Play again?

Teoman - Zamparanın Ölümü 2 Tabs

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Harmony analysis

Teoman – Zamparanın Ölümü 2: key and chord analysis

The song opens on Cm and ends on Cm. 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)
#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 both starts and finishes on Cm, Cm is heard 35 times against 4 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	4×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	3×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	26×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	30×
V	Bb	Dominant — strongest pull home	Bb · D · F	9×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	35×
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	35×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	4×
iv	Fm	Subdominant — moves away from home	F · Ab · C	3×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	26×
VI	Ab	Submediant — warm colour	Ab · C · Eb	30×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	9×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 107 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.

Chord movement

G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×24
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×6
Bb Eb EbV → Iauthentic cadence CmVII → III ×4
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
Fm Bb Ebii → Vii → V Cmiv → VII ×3

The move to watch is G → Cm, heard 24 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 Ab, land on Ab, C, Eb — 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.
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
4 semitones up

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. Cm, Ab, G, Bb carry the song: vi–IV–V/vi–V relative to Eb, i–VI–V–VII relative to Cm. 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. Ending on Cm, the song seals Cm as home.

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.