Tan Taşçı - Gidişat - Chord

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

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Capo 0

Abmaj7  Gm7  Abmaj7  Gm7

Cm7  Gm7  Fm7  Abmaj7  Gm7  Fm7  Abmaj7  Gm7

Gm7          Ebmaj7
Ben yanılmam, ben oyalanmam
Fm7               Abmaj7
Ben sevmedik yere hiç tasalanmam
Gm7          Ebmaj7
Sen kaçarsın, sen yakarsın
Fm7             Abmaj7
Sen olmadık yere olay yaparsın

Cm7
Gel sen ol benden yana, gel gel
Gm7
Varsa bildiğin bir engel
Abmaj7             Bb
Sabırsa sabrederim, zor ise hallederim
Fm7               Gm7
Ben tanımam ki engel

Gm7        Cm7
Bu gidişat sorun olacak
Gm7           Fm7
Bu yara benim sonum olacak
Abmaj7            Gm7
Alsan yanına ne zararım olacak?
Fm7               Gm7
Belki de dünyan anlam bulacak

Gm7        Cm7
Bu gidişat nasıl olacak?
         Gm7
Bak, ben sana diyeyim
  Fm7
Canımız yanacak
Abmaj7             Gm7
Açsan kollarını, sanki ne olacak?
Fm7                   Gm7
Sanma ki herkes ben gibi saracak

End of song Play again?

Tan Taşçı - Gidişat Tabs

NotesX

Harmony analysis

Tan Taşçı – Gidişat: key and chord analysis

The song opens on Abmaj7 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 C minor side because Cm is heard 4 times against 2 for Eb. 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
Imaj7	Ebmaj7	Tonic — home	Eb · G · Bb · D	2×
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	9×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	17×
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	9×
V	Bb	Dominant — strongest pull home	Bb · D · F	1×
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	4×
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	4×
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	9×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	17×
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	9×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 42 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 ×3
Abmaj7 Cm7 EbIVmaj7 → vi7 CmVImaj7 → i7VI → i ×1
Abmaj7 Bb EbIVmaj7 → VIV → V CmVImaj7 → VIIVI → VII ×1

The move to watch is Gm7 → Cm7, heard 3 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 Gm7, land on G, Bb, D — 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.
Over Fm7, land on F, Ab, C — 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 Abmaj7, the song gives away its key from the very first bar. The backbone is Gm7, Abmaj7, Fm7, Cm7 — iii7–IVmaj7–ii7–vi7 from the Eb side, v7–VImaj7–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 Gm7 → Cm7 (iii7 → vi7 in Eb, v7 → i7 in Cm): natural-minor cadence — gentle, modal arrival. Ending on Gm7, the song seals Eb as home.

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.