Ezhel - Bir Daha (Ufo361) - Chord

Key Eb major – C minor Chords Cm7, Bb, Eb, Gm, Gm7 Easy key C (capo 3)

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Capo 0

    Gm7
Bir daha dönemem geriye bir daha
       Bb            Cm7
Aksini edebilirsin iddia

Başa saralım
         Eb
Hadi her şeyi en baştan yaşayalım

Rap kısımlarda aşağıdaki döngüyü 
tekrar edince daha iyi oluyor,
fakat sadece Cm7 akorunu da basabilisiniz.
Gm  Gm  Bb  Cm7  Eb

Gm  Gm  Bb  Cm7  Eb
ya da
Cm7
Vurur ziganam, seni geçeriz zaman gibi 
Yazık ziyan ömrüme 
Berlin Angara stili Rollie
Audemars Pigo alır agalar şimdi
Eskiden bi tane sakız bile alamazdım ki
Her yer polizei
Gelir sorular, gelir on üç ay
Doldur çay içerim, beyaz rakım dolunay
Sorunlar bile olsa da girer yoluna
Kulağımda Killa, Eko Fresh her şey yolunda
Yorulmam yoruldum çok bugüne dek
Üzülerek geçemez hayat düşünerek
Üşürüz hep yaz olsa bile kışı sevek
Kimseyi satamadım olamam bi pezevenk

Cm7
Var Ufo yanımda alayınız meze
Sar puro kağıdına yaşalım neşe
Harcırah harcanır bütün kardeşlere
Saldırak gördüğümüz bütün kalleşlere

Cm7
Bir daha dönemem geriye bir daha
Aksini edebilirsin iddia
Başa saralım
Hadi her şeyi en baştan yaşayalım
Bir daha dönemem geriye bir daha
Aksini edebilirsin iddia
Başa saralım
Hadi her şeyi en baştan yaşayalım

Cm7
Dicker kein turning back 
Nie wieder pleite tausend Chains um meinen Turtleneck
Mir scheiß egal ob ihr noch da seid Dicker wir sind rich
Ja das Geld macht, dass du falsche Leute schnell vergisst
Ja du kannst Balenciaga tragen, hast keinen echten Drip
Renne nicht hinter Chicks, renne lieber zur Bank
Die Mios werden jetzt gebunkert, check die Zahlen
Viertel Mio pro Quartal
Es gibt kein Zurück mehr Dicker ja wir leben large
Ich kann sehen wie ihr watched komm in Club, da teil ich Shots, bin independant brauch kein Job
Fahr nen Lambo keinen Smart nice Bitches Bubblebad
Diamanten Dicker 500 Karat
Ihr wisst Bescheid, Stay High
Bir daha dönemem geriye bir daha

    Gm7
Bir daha dönemem geriye bir daha
       Bb            Cm7
Aksini edebilirsin iddia

Başa saralım
         Eb
Hadi her şeyi en baştan yaşayalım

End of song Play again?

Ezhel - Bir Daha (Ufo361) Tabs

NotesX

Harmony analysis

Ezhel – Bir Daha (Ufo361): key and chord analysis

The song opens on Gm7 and ends on Eb. 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 because it comes to rest on Eb and Cm is heard 8 times against 4 for Eb. 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	4×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	4×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	2×
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	4×
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	8×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i7	Cm7	Tonic — home	C · Eb · G · Bb	8×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	4×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
v	Gm	Minor dominant — soft pull	G · Bb · D	4×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	2×
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	4×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 22 times in total; 5 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

Bb Cm7 EbV → vi7deceptive cadence CmVII → i7Aeolian arrival ×4

The move to watch is Bb → Cm7, heard 4 times. From the Eb side it reads V → vi7 (deceptive cadence: expected Eb, lands on Cm); from the Cm side it is VII → i7 (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 Cm7, land on C, Eb, G — 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.
Over Eb, land on Eb, G, Bb — 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
2 semitones up

The song's harmonic story

Starting on Gm7, the song gives away its key from the very first bar. Cm7, Bb, Eb, Gm carry the song: vi7–V–I–iii relative to Eb, i7–VII–III–v relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Cm7 (V → vi7 in Eb, VII → i7 in Cm): deceptive cadence — expected Eb, lands on Cm. It closes on Eb, letting the Eb 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.