Ebru Gündeş - Söylemeyin - Chord

Key Eb major – C minor Chords Gm7, Fm7, Abmaj7, Ebmaj7, Cm7, Bb Easy key C (capo 3)

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Capo 0

Ebmaj7                   Fm7       Gm7
Göz görmez başkasını bilirim aşktandır
Ebmaj7                 Fm7       Gm7
Halim nicedir böyledir, perperişandır

Cm7      Gm7
Yaktı yıktı yüreğimi
     Fm7      Gm7
Bu nasıl vicdandır
Cm7     Gm7
Dünyada ayrılık
     Fm7     Gm7
Ne yaman düşmandır

Gm7              Abmaj7
Beni sakın ellemeyin
 Fm7              Gm7
Adını bile söylemeyin
Bb             Abmaj7
Soracak olursa, size hatırımı
  Fm7              Gm7
Lafını bile dinlemeyin

Gm7  Abmaj7  Fm7  Gm7  Bb  Abmaj7  Fm7  Gm7

End of song Play again?

Ebru Gündeş - Söylemeyin Tabs

NotesX

Harmony analysis

Ebru Gündeş – Söylemeyin: key and chord analysis

The song opens on Ebmaj7 and ends on Gm7. 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 it opens on Eb. 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
Imaj7	Ebmaj7	Tonic — home	Eb · G · Bb · D	2×
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	8×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	12×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IVmaj7	Abmaj7	Subdominant — moves away from home	Ab · C · Eb · G	4×
V	Bb	Dominant — strongest pull home	Bb · D · F	2×
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	2×
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	2×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
IIImaj7	Ebmaj7	Relative major — the bright side	Eb · G · Bb · D	2×
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	8×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	12×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VImaj7	Abmaj7	Submediant — warm colour	Ab · C · Eb · G	4×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	2×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 30 times in total; 6 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 ×2

The move to watch is Gm7 → Cm7, heard 2 times. From the Eb side it reads iii7 → vi7; from the Cm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival). 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 Gm7, land on G, Bb, D — 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 Abmaj7, land on Ab, C, Eb — 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 Ebmaj7; the ear learns where home is within a second. The backbone is Gm7, Fm7, Abmaj7, Ebmaj7 — iii7–ii7–IVmaj7–Imaj7 from the Eb side, v7–iv7–VImaj7–IIImaj7 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. It closes on Gm7, 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.