Hayko Cepkin - Kabul Olur - Chord

Key Eb major – C minor Chords Cm, Eb, F, D, Db Easy key F

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Capo 0

Cm  D  Eb  F

  Cm  Db  Eb  F
Yoluuuuuuuuuuuum
 Cm   D     Eb   F
Uzun ağır geçer ömür
  Cm  D  Eb  F
Yoruuuuuuullldum
 Cm      D     Eb   F
Eğilim biraz beni görün
  Cm  Db  Eb
Yooooooooooool
  F   Cm  D
Değil bu ömür
  Eb  F
Biçaresizlik
Cm  D     Eb  F
Duuuuur durun
  Cm    D
Kesin final
   Eb  F
Bu yol ölüm

Cm  D  Eb  F
Duuuuuuuuy duy
  Cm    D      Eb    F
Sesim biraz, kısık buruk
Cm  D  Eb  F
Soooooooonunu
  Cm    D     Eb   F  Cm
Görür yürür deli gönüüül
      D           Eb
Neden mevsim olup da
F          Cm
Günüm geçmiyor
    D          Eb
Ellerime doğup da
  F      Cm
Neden ölüyor
     D         Eb
Bile bile sonuçta
 F       Cm
Ömür geçiyor
 D         Eb        F
Ağır ağır ağır ağır ağır
      Cm  D  Eb  F
Ağır ağııııııır

  Cm  D     Eb    F
Kabuuuuul mu olur
  Cm  D     Eb    F
Kabuuuuul mu olur
  Cm  D     Eb
Kabuuuuul mu olur
 F     Cm
Evet tamam

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Hayko Cepkin - Kabul Olur Tabs

NotesX

Harmony analysis

Hayko Cepkin – Kabul Olur: 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.

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 both starts and finishes on Cm and Cm is heard 22 times against 21 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	21×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
II	F	Chromatic colour chordoutside the key	F · A · C	21×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	22×
bVII	Db	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Db · F · Ab	2×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
VII	D	Chromatic colour chordoutside the key	D · F# · A	19×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	22×
bII	Db	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Db · F · Ab	2×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
II	D	Chromatic colour chordoutside the key	D · F# · A	19×
III	Eb	Relative major — the bright side	Eb · G · Bb	21×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	21×
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	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 85 times in total; 2 of them sit naturally inside the shared scale. Db is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Db Eb EbbVII → IbVII → I CmbII → III ×2

The move to watch is Db → Eb, heard 2 times. From the Cm side it is bII → III; from the Eb side it reads bVII → I (bVII → I: a rock / Mixolydian arrival). 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
On Db, follow the chord's notes (Db · F · Ab) rather than the key's scale — it's a borrowed colour.

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

2 semitones up
4 semitones up

The song's harmonic story

The opening Cm lays a solid floor for everything that follows. The chords that keep coming back are Cm, Eb, F, D; read them as vi–I–II–VII in Eb or i–III–IV–II in Cm. Db briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Db → Eb (bVII → I in Eb, bII → III in Cm): bVII → I — a rock / Mixolydian arrival. It closes on Cm, letting the Cm 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.