Oğuzhan Koç - Bulutlara Esir Olduk - Chord

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

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Capo 0

Gm  Fm  Gm  Fm

Gm              Fm                Gm
Yine yaz bitti, biz göremeden güneşi
       Fm            
Bulutlara esir olduk
Gm             Fm                    Gm
Kararıp gitti, yıllarım bilemeden neşeyi
          Fm         Bb
Büyük sandıklara koyduk

Cm                Gm                             
Gelen olmadı yerine, kimse sormadı 
   Fm      Bb             Eb
Yüreğinde bu koca boşluk niye, ah
Ab                 Gm                                    
İnen olmadı daha derine, ki ben yormadım
      Fm     Bb            Eb 
Bu rüyayı bir gün gidebileceğine

Cm               Gm
Yokluğun da yine yüz çevirdim aşka
Fm                Gm        Ab      Bb
Güz geçirdim onca yaprağım sarardı soldu
Cm              Bb
Sonbaharın sonunda bahar yok artık
Fm                 Gm   Ab   Eb
Yağmuru vurunca derde dert oldu
Fm              Bb    Ab    Gm
Rüzgarı vurunca derbeder oldum

End of song Play again?

Oğuzhan Koç - Bulutlara Esir Olduk Tabs

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Harmony analysis

Oğuzhan Koç – Bulutlara Esir Olduk: 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: we can't honestly pick a side here — the song moves freely between Eb major and C 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 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	3×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	11×
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	4×
V	Bb	Dominant — strongest pull home	Bb · D · F	6×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	3×
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	3×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	3×
iv	Fm	Subdominant — moves away from home	F · Ab · C	11×
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	4×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	6×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 39 times in total; 6 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

Fm Bb Ebii → Vii → V Cmiv → VII ×4
Bb Eb EbV → Iauthentic cadence CmVII → III ×2
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2
Ab Eb EbIV → Iplagal cadence CmVI → III ×1
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×1

The move to watch is Fm → Bb, heard 4 times. From the Eb side it reads ii → V (ii → V: the classic preparation of the dominant); from the Cm side it is iv → VII. 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 Gm, land on G, Bb, 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.
Over Bb, land on Bb, D, F — 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. The chords that keep coming back are Gm, Fm, Bb, Ab; read them as iii–ii–V–IV in Eb or v–iv–VII–VI in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bb (ii → V in Eb, iv → VII in Cm): ii → V — the classic preparation of the dominant. The final chord is Gm; the ear comes to rest in Eb.

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.