Serdar Ortaç - Posta Güvercini - Chord

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

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Capo 0

Cm
Kalp ömrü hayatında
G#
Kalmadı zan altında
Fm 
Çamurda som altında
   Gm    Fm  Cm
Bulsa bozulmuyor

Cm
Herkeste soğuk kibir
   G#
Aşklar enkaz kar altında
   Fm
Gözler IçI temiz birini
   Gm      Fm    Cm
Arıyor da bulunmuyor

    Fm         Bb    
Boş ver soranları
        Cm   Bb   G#
Kem gözleri nazarları
          Fm           Gm
Duvar dibine örülü ağları
         Cm
Laf taşırlar

Cm             Fm      Gm
Bunların alayı posta güvercini
Cm            Fm      Gm
Haseti kibiri çekti enerjimi
Fm              Cm             Fm
Kim arkamızdan kuyu kazar aklımda
   Gm      Cm
Haberleri yok

Cm             Fm      Gm
Bunların alayı posta güvercini
Cm            Fm      Gm
Haseti kibiri çekti enerjimi
Fm              Cm             Fm
Bi kara liste hazırladım alt alta
  Gm       Cm
Bilen biri yok

Fm              Cm
Bizde ki gibi aşkı ömrü billah
Fm  Gm      Cm
Bul an biri yok

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Serdar Ortaç - Posta Güvercini Tabs

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Harmony analysis

Serdar Ortaç – Posta Güvercini: 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)

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 and Cm is heard 16 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	16×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	10×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	G#	Subdominant — moves away from home	G# · B# · D#	3×
V	Bb	Dominant — strongest pull home	Bb · D · F	2×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	16×
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	16×
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	16×
v	Gm	Minor dominant — soft pull	G · Bb · D	10×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	G#	Submediant — warm colour	G# · B# · D#	3×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	2×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 47 times in total; 5 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

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×6
Fm Cm Ebii → vi Cmiv → iminor plagal ×5
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1
Fm Bb Ebii → Vii → V Cmiv → VII ×1

The move to watch is Gm → Cm, heard 6 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 Cm, land on C, Eb, G — 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.
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. Cm, Fm, Gm, G# carry the song: vi–ii–iii–IV relative to Eb, i–iv–v–VI relative to 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. 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.