Zeynep Bastık - Goko (Eva Mia) - Chord

Key Eb major – C minor Chords Fm7, Cm7 Easy key C (capo 3)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Fm7  Cm7 

         Fm7               Cm7
Onun adı Eva cha, cha mama mia
             Fm7           Cm7
Hadi gidelim Shisha sonra İbiza'ya
          Fm7                Cm7
Hiç böyle koymamıştı bana mesafe
           Fm7                Cm7
Az, az, az kaldı tadıcam seni sabret

Fm7  Cm7
Tüm şarkı boyunca aynı döngü devam eder.


Onun adı Mia sexy latina
Şöyle belini sarsam ederim bayram
Naz, naz, naz nereye kadar bu sahne
Film gibisin reklamlar bile şahane

Esti, esti rüzgar, durmaz sular, akar şelale
Sensiz benim içim buruk, sanki boş bi terane
Silip silip atar aklım, anılarım verane
İlk hamlen bel altı olursa bu ilahi müdahale

Gece kaçıp bana gelsen gelsen sorun ne
Sevişirken değse ömrüm ömrüne
Markete bile çıkmak artık oldu bahane
Balım sen hep gülümse

Onun adı Eva Cha-cha mama mia 
Hadi gidelim Shisha sonra İbiza'ya 
Hiç böyle koymamıştı bana mesafe 
Az, az, az kaldı tadıcam seni sabret 

Onun adı Mia sexy latina 
Şöyle belini sarsam ederim bayram 
Naz, naz, naz nereye kadar bu sahne 
Film gibisin reklamlar bile şahane

Elimden tut koşma koskoca yüreğim atıyorsa
Yağmur yağmasın orda bizi beraber islatmıyorsa
Adam olmayı öğrenmedin hiç kadına el kaldırıyorsan
Öpmeye kıyamıyorsam sensiz uyuyamıyorsam

Hiç Hiçbiriniz böyle sevdi mi
Çok seversen bile söylemez misin sevdiğini
Öpüp koklamaz mısın çok özlediğinde beni
Aşık olmak için sakın bekleme değişmemi

Onun adı Eva Cha-cha mama mia 
Hadi gidelim Shisha, Sonra İbiza'ya 
Hiç böyle koymamıştı bana mesafe
Az kaldı tadıcam seni sabret 

Onun adı Mia sexy latina
Şöyle belini sarsam ederim bayram
Naz naz naz nereye kadar bu sahne 
Film gibisin reklamlar bile şahane

End of song Play again?

Zeynep Bastık - Goko (Eva Mia) Tabs

NotesX

Harmony analysis

Zeynep Bastık – Goko (Eva Mia): key and chord analysis

The song opens on Fm7 and ends on Cm7. 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 comes to rest on Cm and Cm is heard 6 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	6×
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	—
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	6×
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	6×
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	6×
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). 2 different chords appear 12 times in total; 2 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

Fm7 Cm7 Ebii7 → vi7 Cmiv7 → i7minor plagal ×6

The move to watch is Fm7 → Cm7, heard 6 times. From the Cm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Eb side it reads ii7 → 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.

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 Fm7; the ear learns where home is within a second. The backbone is Fm7, Cm7 — ii7–vi7 from the Eb side, iv7–i7 from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm7 → Cm7 (ii7 → vi7 in Eb, iv7 → i7 in Cm): minor plagal — deep and melancholic. The final chord is Cm7; the ear comes to rest in Cm.

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.