Gripin - Sustukların Büyür İçinde - Chord

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

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Capo 0

Cm                 Bb     Gm
Bencil, ruhsuz ve boş gözlerle
Fm     D#      G
Karşımdasın yabancı halinle
Cm            Bb       Gm
Bu ilk değil ama daha  önce
Fm               D#      G
Bu son demen bu kadar koymamıştı niye  

G#         Bb      G        Cm       G#
Terkederken yanına al kara kaplı defterini
       Bb        G         Cm         
Akıtırsın kaleminden son sözünü iki yüzünü  

               Cm
Her nereye gidersen
                             Bb         Gm
Kendinle yüzleşirken kimse duymaz yalan söyle
               Fm                     D#
Terkettiğin şehirler yarım kalmış şiirler
        G    
Sustukların büyür içinde

Cm              Bb     Gm
Neden durur masanın üstünde
Fm           D#      G
Bomboş bir kağıt sevdiğin kalemle 
Cm                     Bb          Gm
Erken gelmeseydim yazacak mıydın üstüne 
Fm           D#      G
Bıraktığım yerde ama mutlu kal diye

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Harmony analysis

Gripin – Sustukların Büyür İçinde: 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.

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 opens on Cm, Cm is heard 7 times against 5 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	D#	Tonic — home	D# · G · A#	5×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	5×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	5×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	7×
IV	G#	Subdominant — moves away from home	G# · B# · D#	2×
V	Bb	Dominant — strongest pull home	Bb · D · F	7×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	7×
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	7×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	D#	Relative major — the bright side	D# · G · A#	5×
iv	Fm	Subdominant — moves away from home	F · Ab · C	5×
v	Gm	Minor dominant — soft pull	G · Bb · D	5×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	7×
VI	G#	Submediant — warm colour	G# · B# · D#	2×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	7×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 38 times in total; 6 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 ×5
G# Bb EbIV → VIV → V CmVI → VIIVI → VII ×2

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 Bb, land on Bb, D, F — 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. The chords that keep coming back are Cm, Bb, G, Gm; read them as vi–V–V/vi–iii in Eb or i–VII–V–v in 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. The final chord is G; 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.