Funda Arar - Arapsaçı - Chord

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

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Capo 0

Gm  Ab  Gb  Gm

Gm
Bir derdim var dinleyin
Ab
Ey gökteki yıldızlar
Gm
Beni benden çalarak
Bb               Ab
Kaybolup gitti yıllar
 
Gm
Aşk aşk aşk yüzünden
Ab
Izdıraba kul oldum
Gm
Ömrüm böyle tükendi
Bb                Ab
Ne kadar zalim yıllar
 
Gm
Gönlüm söz dinlemiyor
Ab
Sevdiğimi ver diyor
Gm
Kim görse şu halimi
Bb                Ab
Bir daha sevme diyor
Gm  Eb     Gb  Gm
Off, aşk yüzünden

Gm             Ab  Gm  Ab
Arapsaçına döndüm  
Gm            Ab  Gm  Eb
Çöz beni arapsaçı    
D              Eb  D   Eb
Çivi çiviyi söker
Bb Cm    Bb   Ab
 Budur bunun ilacı
Gm
Budur bunun ilacı
 
Gm
Sen gittin saçlarıma
Ab
Erimez karlar yağdı
Gm
Mevsimlerin tadı yok
Bb              Ab
Baharım sende kaldı
 
Gm
Ansızın gidiverdin
Ab
Haber bile vermedin
Gm
Hem kendin harap oldun
Bb                 Ab
Hem beni benden ettin

End of song Play again?

Funda Arar - Arapsaçı Tabs

NotesX

Harmony analysis

Funda Arar – Arapsaçı: key and chord analysis

The song opens on Gm 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 Eb major side because Eb is heard 4 times against 1 for Cm. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.

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	—
bIII	Gb	Borrowed from the parallel minorborrowed chord	Gb · Bb · Db	2×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	19×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	15×
V	Bb	Dominant — strongest pull home	Bb · D · F	7×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	1×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
V/iii	D	Secondary dominant V/iii — leads to Gmsecondary dominant	D · F# · A	2×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	1×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
V/v	D	Secondary dominant V/v — leads to Gmsecondary dominant	D · F# · A	2×
III	Eb	Relative major — the bright side	Eb · G · Bb	4×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
#IV	Gb	Chromatic colour chordoutside the key	Gb · Bb · Db	2×
v	Gm	Minor dominant — soft pull	G · Bb · D	19×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	15×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	7×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 50 times in total; 5 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key. Gb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1

The move to watch is Bb → Cm, heard once. From the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm); from the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 Ab, land on Ab, C, Eb — 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.
On Gb, follow the chord's notes (Gb · Bb · Db) 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

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. The backbone is Gm, Ab, Bb, Eb — iii–IV–V–I from the Eb side, v–VI–VII–III from the Cm side. D adds a moment of surprise: secondary dominant V/iii — leads to Gm. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): deceptive cadence — expected Eb, lands on Cm. Ending on Ab, the song seals Eb 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.