Eypio - Gömün Beni Çukura - Chord

Key C major – A minor Chords Am, E, G, F Difficulty already in its easiest key

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Capo 0

Am
Ben buradan ayrılmam, şaşmadan pusulam
Geceler farksızdır, kancık bir pusudan
E
Sevdik de katlandık, inan her bokuna
Hepimiz ölcez de, gömün beni çukura

Am
Eğer seninki ayazsa, inan bizim ki ömür değil
Yaktık geçtiğin her yanını, yanan bu gençlik kömür değil
E
Her yanlış eder bir mermi, bu da sanma ki kimseye ödül değil
Düşman saplasa hançerini, dostum var bu da bize ölüm değil

Am
Koşarız ölüme bu da sorun değil, çukurdayız baba eğilmeyin
Rüzgar döndürüyor bu değirmeni, kurudu gözlerimdeki nehirlerin
E
Kimseye satmam zehirlerim kendimi, mahalle bizim kesin
Çukura düştü diye sevinmeyin, anne karnında gibi evimdeyin

Am
Ben buradan ayrılmam, şaşmadan pusulam
Geceler farksızdır, kancık bir pusudan
E
Sevdik de katlandık, inan her bokuna
Hepimiz ölcez de, gömün beni çukura

Am                          E
Hep üstüm toz avcumda köz, yeminim var ve namus söz
G                        F
Elimde kan gözümde yaş, ben yoruldum gelip de çöz
Am                          E
Hep üstüm toz avcumda köz, yeminim var ve namus söz
G                        F
Elimde kan gözümde yaş, sarmaşıktım gelip de çöz

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Eypio - Gömün Beni Çukura Tabs

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Harmony analysis

Eypio – Gömün Beni Çukura: key and chord analysis

The song opens on Am and ends on E. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because it opens on Am, Am is heard 6 times while C never appears and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	6×
IV	F	Subdominant — moves away from home	F · A · C	1×
V	G	Dominant — strongest pull home	G · B · D	1×
vi	Am	Relative minor — the melancholy side	A · C · E	6×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	6×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	—
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	6×
VI	F	Submediant — warm colour	F · A · C	1×
VII	G	Subtonic — steps back to the tonic	G · B · D	1×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 14 times in total; 3 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am.

Chord movement

E Am CV/vi → vi AmV → iharmonic-minor cadence ×4
F Am CIV → vi AmVI → iVI → i ×1

The move to watch is E → Am, heard 4 times. From the Am side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — 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 E comes, swap the scale's G for G#: 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is Am; the ear learns where home is within a second. The chords that keep coming back are Am, E, G, F; read them as vi–V/vi–V–IV in C or i–V–VII–VI in Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on E → Am (V/vi → vi in C, V → i in Am): harmonic-minor cadence — the major V resolves dramatically. Ending on E, the song seals C 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.