Sezen Aksu - Baba Evi - Chord

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

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Capo 0

                     Gm          G#
Baba evindeyim bugün tepemde dolunay
Fm                       Gm
Nasıl doluyum birikmiş yalnızlıklar
                            G#
Ayın umrunda mı cama vurmuş şavkı
Fm                        Gm
Adamın biri de tutturmuş damar bir şarkı

Gm                   Fm       G#               Gm
Belki artık kavuşmak hayal, belki beni çoktan sildin
                D      G#        D     D#
Öldürsen iflah olmaz, geçmiyor senden ümidim
             Gm                   D#
Canımdan can gitti, gel hasretin eritti
F                        Cm   Dm    Gm
Anladım ki çok muhabbet, ayrılık getirdi

Gm                               G#
Çalsan bir akşam üstü kapımı yeniden
Fm                          Gm
Ben de sana tavşan kanı bir çay demlesem
                      G#
Desem ki pişmanım perişanım
Fm                            Gm
Sen de bir büyüklük göstersen de hoşgörsen

Gm               Fm      G#              Gm
Belki sarışırız aniden, belki tanışırız yeniden
                    D     G#         D    D#
Uzun uzun konuşup sonra, anlaşırız tan ağarırken
             Gm                    D#
Canımdan can gitti, gel hasretin eritti
F                        Cm   Dm    Gm
Anladım ki çok muhabbet, ayrılık getirdi

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Sezen Aksu - Baba Evi Tabs

NotesX

Harmony analysis

Sezen Aksu – Baba Evi: key and chord analysis

The song opens on Gm 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 Eb major side because Eb is heard 4 times against 2 for Cm. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.

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#	4×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	6×
II	F	Chromatic colour chordoutside the key	F · A · C	2×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	14×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	G#	Subdominant — moves away from home	G# · B# · D#	8×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	2×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
V/iii	D	Secondary dominant V/iii — leads to Gmsecondary dominant	D · F# · A	4×
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	2×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
V/v	D	Secondary dominant V/v — leads to Gmsecondary dominant	D · F# · A	4×
ii	Dm	Chromatic colour chordoutside the key	D · F · A	2×
III	D#	Relative major — the bright side	D# · G · A#	4×
iv	Fm	Subdominant — moves away from home	F · Ab · C	6×
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	2×
v	Gm	Minor dominant — soft pull	G · Bb · D	14×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	G#	Submediant — warm colour	G# · B# · D#	8×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 42 times in total; 5 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Gm, land on G, Bb, D — 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.
Over Fm, land on F, Ab, C — 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 first chord is Gm; the ear learns where home is within a second. Gm, G#, Fm, D carry the song: iii–IV–ii–V/iii relative to Eb, v–VI–iv–V/v relative to Cm. D adds a moment of surprise: secondary dominant V/iii — leads to Gm. Ending on Gm, the song seals Eb 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.