Bora Duran - Nikah Masası (Ümit Besen) - Chord

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

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Capo 0

Cm    Bb     Gm     Cm     
Fm    Bb     Ab     Gm

Cm              Bb
Nikahına beni çağır sevgilim 
Gm                 Cm
İstersen şahidin olurum senin 
Fm                Bb
Bu adam kim diye soran olursa 
Ab                Dm
Eski bir tanıdık dersin sevgiim 

Cm                Bb
Hayaller kurardık biz yıllar önce 
Gm                   Cm
Hiç yoktu hesapta ayrılık bizce 
Fm                Bb
Bilirsin ne kadar görmek isterdim 
Ab                Bb      Gm
Beyazlar içinde seni öylece 

Cm              Bb
Garibin biriysem sevemez miyim 
Gm                    Cm
Aşkla karın doymaz diyen ben miyim 
Fm                   Bb
Şimdi çok zenginsin ben ayrı garip 
Ab                Dm
Sana bir buket gül veremez miyim 

Cm               Bb
Nikah masasına oturdun işte 
Gm               Cm
Dayanmak çok zormuş böyle sevince 
Fm              Bb
Sana mutluluklar sözüm kardeşçe 
Ab                  Bb    Gm
At artık imzanı git bir an önce

End of song Play again?

Bora Duran - Nikah Masası (Ümit Besen) Tabs

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Harmony analysis

Bora Duran – Nikah Masası (Ümit Besen): key and chord analysis

The song opens on Cm 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: to us the song feels closer to the C minor side because it opens on Cm and Cm is heard 10 times while Eb never appears. 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	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	5×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	8×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	5×
V	Bb	Dominant — strongest pull home	Bb · D · F	12×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	10×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
vii	Dm	Chromatic colour chordoutside the key	D · F · A	2×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	10×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
ii	Dm	Chromatic colour chordoutside the key	D · F · A	2×
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	5×
v	Gm	Minor dominant — soft pull	G · Bb · D	8×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	5×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	12×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 42 times in total; 5 of them sit naturally inside the shared scale. Dm step outside the scale as colour chords.

Chord movement

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×7
Fm Bb Ebii → Vii → V Cmiv → VII ×5
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×2

The move to watch is Gm → Cm, heard 7 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
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.

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 opening Cm lays a solid floor for everything that follows. The chords that keep coming back are Bb, Cm, Gm, Fm; read them as V–vi–iii–ii in Eb or VII–i–v–iv in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. It closes on Gm, 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.