Ömer Öz - Bu Şehirden Götürün Beni - Chord

Key Eb major – C minor Chords Cm, Ab, Bb, Gm, Fm Easy key G

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Capo 0

Cm  Ab  Bb  Gm  Cm

Cm                     Ab
Kalbimi çalan hırsızım gökteki şans yıldızım
Bb          Gm        Cm
Bakmaya doyamadığım güzel kızım
                      Ab
Bu kadarla yetinmedin bana yalan söyledin
Bb       Gm             Cm
İçim yangın yeriydi sen görmedin

Ab         Bb
Nolursun bırak beni gidebileyim
Gm                 Cm                   Bb
Başka hayatlarda belki yine gülebilirim
    Ab         Bb             Cm
Ama en güzeli son bir dileğim var

Cm
Bu şehirden götürün beni
                        Ab
Kurtulurum ondan uzaklarda

Zamanla unutabilirim
                    Bb
Belki başka dudaklarda
                       Gm
Bir gün aklına düşebilirim ansızın beni sorarsa
Ab             Fm           Gm    Cm
Yarası kanasın arasın ilacı yollarda

Cm
Belki de biri var diye
Ab
Sorguladığım her gece
Bb          Gm          Cm
Sırrını çözemediğim bir bilmece

Cm
Mevsimi değil özlenir
Ab
Uykuna bile gizlenir
Bb           Gm            Cm
Bil ki kaybeden gidenlerin ismidir

End of song Play again?

Ömer Öz - Bu Şehirden Götürün Beni Tabs

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Harmony analysis

Ömer Öz – Bu Şehirden Götürün Beni: key and chord analysis

The song opens on Cm and ends on Cm. 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 both starts and finishes on Cm and Cm is heard 13 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	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	1×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	8×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	9×
V	Bb	Dominant — strongest pull home	Bb · D · F	9×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	13×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	13×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	1×
v	Gm	Minor dominant — soft pull	G · Bb · D	8×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	9×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	9×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 40 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

Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×8
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×7
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1

The move to watch is Ab → Bb, heard 8 times. From the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IV → V (IV → V: the lift that builds tension before 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 Cm, 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.
Over Bb, land on Bb, D, F — 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

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

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Cm, Ab, Bb, Gm; read them as vi–IV–V–iii in Eb or i–VI–VII–v in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. The final chord is Cm; 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.