Cem Belevi - Elizabeth (Ozan Doğulu) - Chord

Key F major – D minor Chords Am, Gm, C, Bb Easy key C (capo 5)

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Capo 0

Am  Gm  Am  Gm

          Am  Gm             Am    Gm
Herkes duysun  söylüyorum adını (Elizabeth)
         Am   Gm   Am     Gm
Korkmam, büyük yürürüm (Elizabeth)
          Am  Gm              Am      Gm
Kurşun kurşun  çek de vur silahını (Elizabeth)
        Am  Gm   Am    Gm
Kollarında   ölürüm (Elizabeth)

C
Akıyor dudaktan dillere destan
Bb              Am
Ah sen hep gelsene
C
O gülüşü dehşet, gazeteye manşet
Bb                Am
Bana bir poz versene

Am
Gülmeyen yüzümü güldürdün

Bir geldin başımı döndürdün
                              C  Bb
Sımsıcak nefesim özletme yine geeel

Am
Varsa yoksa bana bir tek sen

İbre döndü sana yüz seksen
                              C  Bb
Tek başıma beni kahretme hadi geeel

     Am   Gm
Elizabeth
     Am   Gm
Elizabeth
     Am   Gm
Elizabeth
     C  Bb
Hadi geeel

Am  Gm  Am  Gm

End of song Play again?

Cem Belevi - Elizabeth (Ozan Doğulu) Tabs

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Harmony analysis

Cem Belevi – Elizabeth (Ozan Doğulu): key and chord analysis

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

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between F major and D minor. Try reading the chords both ways and see which feels more like home to you.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	15×
iii	Am	Mediant — a tonic-family shade	A · C · E	19×
III	A	Chromatic colour chordoutside the key	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	5×
V	C	Dominant — strongest pull home	C · E · G	5×
vi	Dm	Relative minor — the melancholy side	D · F · A	—
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	—
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	15×
v	Am	Minor dominant — soft pull	A · C · E	19×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	5×
VII	C	Subtonic — steps back to the tonic	C · E · G	5×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 44 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

Gm C Fii → Vii → V Dmiv → VII ×2

The move to watch is Gm → C, heard 2 times. From the F side it reads ii → V (ii → V: the classic preparation of the dominant); from the Dm side it is iv → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. The backbone is Am, Gm, C, Bb — iii–ii–V–IV from the F side, v–iv–VII–VI from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → C (ii → V in F, iv → VII in Dm): ii → V — the classic preparation of the dominant. Ending on Gm, the song seals F 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.