Murat Kekilli - Odalarım - Chord

Key Eb major – C minor Chords Cm, Bb, G#, Fm Easy key G

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Capo 0

Cm       Bb      Cm  Bb           G#      Cm
Odalarım dört köşeli  karış karış yar döşeli
             Fm      Bb            Cm
Geleceğin yok senin alıp başımı gitmeli

Cm                      Bb
Gel kız karşımda dursana halımı bilsene
G#            Bb          G#                Cm
Zülfünden bir tel versene koklayayım gül yerine

Cm         Bb      Cm  Bb           G#      Cm
Al yanağın bala benzer  kızıl saçın güle benzer
                 Fm      Bb            Cm
Benim aşkım deniz derya seninki çöle benzer

Cm                      Bb
Gel kız karşımda dursana halımı bilsene
G#            Bb          G#                Cm
Zülfünden bir tel versene koklayayım gül yerine

Cm       Bb      Cm  Bb           G#      Cm
Odalarım dört köşeli  karış karış yar döşeli

End of song Play again?

Murat Kekilli - Odalarım Tabs

NotesX

Harmony analysis

Murat Kekilli – Odalarım: 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 15 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	2×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	G#	Subdominant — moves away from home	G# · B# · D#	7×
V	Bb	Dominant — strongest pull home	Bb · D · F	12×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	15×
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	15×
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	2×
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	—
VI	G#	Submediant — warm colour	G# · B# · D#	7×
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). 4 different chords appear 36 times in total; 4 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

Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×5
G# Cm EbIV → vi CmVI → iVI → i ×5
Fm Bb Ebii → Vii → V Cmiv → VII ×2
G# Bb EbIV → VIV → V CmVI → VIIVI → VII ×2

The move to watch is Bb → Cm, heard 5 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). 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.

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

4 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. The backbone is Cm, Bb, G#, Fm — vi–V–IV–ii from the Eb side, i–VII–VI–iv from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. 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.