Can Bonomo - Ölesim Var - Chord

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

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Capo 0

Cm  D  Fm  Cm  Cm  D  Ab  G

Cm
Evlerim hüzün
         Fm
Odalarım hasret hasret
G
Yollarım uzun
           Ab
Dönemezsem affet affet

Cm
Bağlarım üzüm
        Fm
Bekleme iki gözüm
G
Sana son sözüm
          Cm
Dönmezsem affet

Cm                        D
Başucumda geçmişten bir resim var
G                        Ab
Girip içinde kendimi dövesim var
Cm                         Fm
Ne bir nefes ne de bir hevesim var
    Ab    Bb      Cm       Fm
Dönerim derim dönemem, dönesim var
      Ab          G     Cm
Yaşayalım deme bu gece, ölesim var

Cm  D  Fm  Cm  Cm  D  Ab  G

Cm
Günlerim uzun
         Fm
Anılarım hasret hasret
G
Eskidi sazım
           Ab
Duyamazsan affet affet

Cm
Gülmedi yüzüm
        Fm
Bekleme iki gözüm
G
Sana son sözüm
          Cm
Dönmezsem affet

Cm                      Fm
Tutmayan dileklerim var akmayan sular gibi
Cm                     Fm
Tutma beni ağlarım bak öksüz çocuklar gibi
Cm                        Ab         G
Yaşanmamış hayallerim var uçmayan kuşlar gibi
Cm                  Fm                  G
Uzanmışım yatağımda sensizlik zulüm gibi

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Can Bonomo - Ölesim Var Tabs

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Harmony analysis

Can Bonomo – Ölesim Var: 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 20 times while Eb never appears 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	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	11×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	10×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	8×
V	Bb	Dominant — strongest pull home	Bb · D · F	1×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	20×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
V/iii	D	Secondary dominant V/iii — leads to Gmsecondary dominant	D · F# · A	5×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	20×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
V/v	D	Secondary dominant V/v — leads to Gmsecondary dominant	D · F# · A	5×
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	11×
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	10×
VI	Ab	Submediant — warm colour	Ab · C · Eb	8×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 55 times in total; 4 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. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×6
Fm G Ebii → V/vi Cmiv → Viv → V ×5
Fm Cm Ebii → vi Cmiv → iminor plagal ×4
Ab Cm EbIV → vi CmVI → iVI → i ×3
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×1

The move to watch is G → Cm, heard 6 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 Fm, land on F, Ab, C — 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, Fm, G, Ab; read them as vi–ii–V/vi–IV in Eb or i–iv–V–VI 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. It closes on G, letting the Eb side have the last word.

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.