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)
Kaan Boşnak - Eğer - Chord
Key Eb major – C minor Chords Fm, Cm, G, Bb, Ab, Eb, G7, Am Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Fm G Cm
Ben senden gitmezdim git demeseydin eğer
Fm G Cm
Hatamı anlardım ben bekleseydin eğer
Fm Bb Eb Ab
Düzeltmek için uğraştım durdum
Fm G G7 Cm
Senin takatin yokmuş meğer
Cm Fm G Cm
Senden önce ne vardıysa unuttum
Fm G Cm
Ay nisan, ben yağmur, sen buluttun
Fm Bb Eb Ab
Kurtulmak için uğraştım durdum
Fm G G7 Cm
Adındaki gülleri kuruttum
Cm Fm
Eğer bir zararım varsa sana
Bb G Cm
Beklemem giderim bir dakika
Fm Bb Eb Ab
Ama bir şey söyle bir selam ver bari
Fm G G7 Cm
Sukutun ölümden beter bana
Cm Fm G Cm
Bu köyün delisi benim tamam kabul
Fm G Ab
Beni böyle bildin şimdi neden
Fm Bb Eb Ab
Yoruldum diyorsun bana halime baksana
Fm G G7 Cm
Başka bir şey vadetmedim ki ben
Cm Fm G Cm
Sen de haklısın zamanım geçti
Fm G Cm
Beni ben yapan her şey değişti
Fm Bb Eb Ab
Ama pişmanlık duyarsan bir gün
Fm G G7 Cm
Beni burada bulamazsın gülüm
Cm Fm
Eğer bir zararım varsa sana
Bb G Cm
Beklemem giderim bir dakika
Fm Bb Eb Ab
Ama bir şey söyle bir selam ver bari
Fm G G7 Cm
Sukutun ölümden beter bana
Am Bb Eb Ab
Ama bir şey söyle bir selam ver bari
Fm G G7 Cm
Sessizlik ölümden beter bana
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Kaan Boşnak - Eğer Tabs
NotesX
Harmony analysis
Kaan Boşnak – Eğer: key and chord analysis
The song opens on Cm and ends on Cm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
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 both starts and finishes on Cm, Cm is heard 22 times against 7 for Eb 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | 7× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 23× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 17× |
| V7/vi | G7 | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D · F | 7× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 8× |
| #iv | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 9× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 22× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 22× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 7× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 23× |
| 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 | 17× |
| V7 | G7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D · F | 7× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 8× |
| #vi | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 9× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 94 times in total; 5 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 / G7 is V/vi, a secondary dominant heading for Cm. Am step outside the scale as colour chords.
Chord movement
- Fm G Ebii → V/vi Cmiv → Viv → V ×15
- G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×9
- Fm Bb Ebii → Vii → V Cmiv → VII ×8
- Bb Eb EbV → Iauthentic cadence CmVII → III ×7
- G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×7
The move to watch is Fm → G, heard 15 times. From the Cm side it is iv → V (iv → V: the minor side's tension builder); from the Eb side it reads ii → V/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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — 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 opening Cm lays a solid floor for everything that follows. Fm, Cm, G, Bb carry the song: ii–vi–V/vi–V relative to Eb, iv–i–V–VII relative to 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 Fm → G (ii → V/vi in Eb, iv → V in Cm): iv → V — the minor side's tension builder. Ending on Cm, the song seals Cm 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.
Kaan Boşnak - Eğer Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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