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)
Kenan Doğulu - Bizimdir - Chord
Key Eb major – C minor Chords Fm7, Cm7, Ab, Gm, Ebmaj7, Bb, Gm7, Cm … Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Ab Cm7 Ebmaj7 Fm7 Gm
Ab Cm7
Hiç kolay değil
Ebmaj7 Fm7 Gm Ab
Dünya ne hale geldi bak
Cm7
Her yerde hüzün var
Ebmaj7 Fm7 Gm
Korkmamak çok zor
Cm7 Fm7
Her acı yüreğini kanatır
Bb Gm
Türlü türlü hikaye
Cm7 Fm7 Bb
İsyan kemiğe dayandı
Fm7 Gm7 Bb
Zaman birleşme zamanı
Cm Eb
Haksız mıyım
Ab Cm7
Orada bir küçük kırık kayıp kalp
Gm7 Fm7
O kalp bizimdir
Ab Cm7
Orada yıkık dökük bir köy uzakta
Gm7 Fm7
O köy bizimdir
Ab Cm7
Hiç kolay değil
Ebmaj7 Fm7 Gm Ab
İnsan ne hale geldi bak
Cm7
Her yerde kavga var
Ebmaj7 Fm7 Gm
Kırılmamak çok zor
End of song Play again?
Kenan Doğulu - Bizimdir Tabs
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Harmony analysis
Kenan Doğulu – Bizimdir: key and chord analysis
The song opens on Ab and ends on Gm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because Cm is heard 10 times against 6 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Ebmaj7 | Tonic — home | Eb · G · Bb · D | 5× |
| I | Eb | Tonic — home | Eb · G · Bb | 1× |
| ii7 | Fm7 | Supertonic — prepares the dominant | F · Ab · C · Eb | 10× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 6× |
| iii7 | Gm7 | Mediant — a tonic-family shade | G · Bb · D · F | 3× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 7× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 3× |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 9× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 1× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 9× |
| i | Cm | Tonic — home | C · Eb · G | 1× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| IIImaj7 | Ebmaj7 | Relative major — the bright side | Eb · G · Bb · D | 5× |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 1× |
| iv7 | Fm7 | Subdominant — moves away from home | F · Ab · C · Eb | 10× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 6× |
| v7 | Gm7 | Minor dominant — soft pull | G · Bb · D · F | 3× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 7× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 3× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 9 different chords appear 45 times in total; 9 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 Cm7 EbIV → vi7 CmVI → i7VI → i ×7
- Gm Cm7 Ebiii → vi7 Cmv → i7natural-minor cadence ×2
- Fm7 Bb Ebii7 → Vii → V Cmiv7 → VII ×2
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1
The move to watch is Ab → Cm7, heard 7 times. From the Cm side it is VI → i7 (VI → i: falls a half step into home); from the Eb side it reads IV → vi7. 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 Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — 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
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Ab; the ear learns where home is within a second. The backbone is Fm7, Cm7, Ab, Gm — ii7–vi7–IV–iii from the Eb side, iv7–i7–VI–v from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Cm7 (IV → vi7 in Eb, VI → i7 in Cm): VI → i — falls a half step into home. 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.
Kenan Doğulu - Bizimdir 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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Lyrics: Kenan DoğuluMusic: Bora UzerArrangement: Bora Uzer
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