Fikri Karayel - Bir Şey Var - Chord

Key Eb major – C minor Chords Cm, Bb, Ab, Gm, Eb Easy key G

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Capo 0

Cm       Bb           Eb     Ab
İnsan kendinden kaçabilir mi
Cm          Bb             Eb     Ab
İçinden geçene karşı koyabilir mi
  Cm      Bb         Gm             Ab
Açtım kapılarımı sonuna kadar, durdum
           Cm    Bb         Eb      Ab
Rüzgara karşı, senin için sana doğru

               Cm      Bb       Gm     Ab
Bu ne kadar yanlış, yanlış olabilir ki
            Cm      Bb        Gm     Ab
Ne kadar yalnız, yalnız kalabilirsin
            Cm      Bb       Gm     Ab
Ne kadar yanlış, yanlış olabilir ki
            Cm      Bb        Gm     Ab
Ne kadar yalnız, yalnız kalabilirsin

Cm       Bb              Eb     Ab
İnsan kendinden kurtulabilir mi
   Cm          Bb
Elimde değil içim dışım sen,
  Gm            Ab
Kıpır kıpır içim

  Cm              Bb            Gm
Derinden yüzeye değişmeyen bir şey var
  Ab        Cm
Süregelen, sen...
  Bb          Gm  Ab
Dilimden düşmeyen

               Cm      Bb       Gm     Ab
Bu ne kadar yanlış, yanlış olabilir ki
            Cm      Bb        Gm     Ab
Ne kadar yalnız, yalnız kalabilirsin
            Cm      Bb       Gm     Ab
Ne kadar yanlış, yanlış olabilir ki
            Cm      Bb        Gm     Ab
Ne kadar yalnız, yalnız kalabilirsin

End of song Play again?

Fikri Karayel - Bir Şey Var Tabs

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Harmony analysis

Fikri Karayel – Bir Şey Var: key and chord analysis

The song opens on Cm and ends on Ab. 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 opens on Cm and Cm is heard 16 times against 4 for Eb. 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	4×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	12×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	16×
V	Bb	Dominant — strongest pull home	Bb · D · F	16×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	16×
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	16×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	4×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
v	Gm	Minor dominant — soft pull	G · Bb · D	12×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	16×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	16×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 64 times in total; 5 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

Ab Cm EbIV → vi CmVI → iVI → i ×15
Bb Eb EbV → Iauthentic cadence CmVII → III ×4

The move to watch is Ab → Cm, heard 15 times. From the Cm side it is VI → i (VI → i: falls a half step into home); from the Eb side it reads IV → 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — 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

The first chord is Cm; the ear learns where home is within a second. Cm, Bb, Ab, Gm carry the song: vi–V–IV–iii relative to Eb, i–VII–VI–v relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Cm (IV → vi in Eb, VI → i in Cm): VI → i — falls a half step into home. It closes on Ab, 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.