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)
Emir Taha - Huyu Suyu - Chord
Key Eb major – C minor Chords Cm7, Fm7, Gm7 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm7 Fm7
Huyu huyuma denk
Gm7
Suyu suyuma denk
Cm7 Fm7
Oh you all through my veins
Gm7
Oh you make me feel some way
Cm7 Fm7
Pure water with that flavor
Gm7
Out singing in the rain
Cm7 Fm7
She returning all the favors
Gm7
IOUs overpaid
Cm7 Fm7
I’m crossing your borderline
Gm7
for the flower between your thighs
Cm7 Fm7 Gm7
Two opposite worlds collide
Cm7 Fm7
Huyu huyuma denk
Gm7
Suyu suyuma denk
Cm7 Fm7
Oh you all through my veins
Gm7
Oh you make me feel some way
Cm7 Fm7
She come thru when she want to
Gm7
Left her two shoes by the bathroom
Cm7 Fm7
Swap a hot tub for the deep blue
Gm7
Face red like a beetroot
Cm7 Fm7
I’m crossing your borderline
Gm7
for the flower between your thighs
Cm7 Fm7 Gm7
Two opposite worlds collide
Cm7 Fm7 Gm7 Cm7
Şelaleler, geceden geceye dökülen
Cm7 Fm7
Huyu huyuma denk
Gm7
Suyu suyuma denk
Cm7 Fm7
Oh you all through my veins
Gm7
Oh you make me feel some way
End of song Play again?
Emir Taha - Huyu Suyu Tabs
NotesX
Harmony analysis
Emir Taha – Huyu Suyu: key and chord analysis
The song opens on Cm7 and ends on Gm7. 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 it opens on Cm and Cm is heard 16 times while Eb never appears. 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 | — |
| ii7 | Fm7 | Supertonic — prepares the dominant | F · Ab · C · Eb | 15× |
| iii7 | Gm7 | Mediant — a tonic-family shade | G · Bb · D · F | 15× |
| 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 | — |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 16× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 16× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv7 | Fm7 | Subdominant — moves away from home | F · Ab · C · Eb | 15× |
| v7 | Gm7 | Minor dominant — soft pull | G · Bb · D · F | 15× |
| 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). 3 different chords appear 46 times in total; 3 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
- Gm7 Cm7 Ebiii7 → vi7 Cmv7 → i7natural-minor cadence ×14
The move to watch is Gm7 → Cm7, heard 14 times. From the Cm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii7 → 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Gm7, land on G, Bb, D — 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
Starting on Cm7, the song gives away its key from the very first bar. The backbone is Cm7, Fm7, Gm7 — vi7–ii7–iii7 from the Eb side, i7–iv7–v7 from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm7 → Cm7 (iii7 → vi7 in Eb, v7 → i7 in Cm): natural-minor cadence — gentle, modal arrival. The final chord is Gm7; 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.
Emir Taha - Huyu Suyu 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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