Can Ozan - Hepimiz Gibi - Chord

Key F major – D minor Chords Bb, Am, C, F, Dm, Gm Easy key G

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Capo 0

F  C  Dm  Am  Bb  Am  Gm  Gm

F             C                  Dm
Loş ışıkları olan boş bir sokaktaa
       Am                   Bb
Issızlığın ortasında herkes uykuda
Am            Gm
Uyandırma uyanma

F            C                   Dm
Sessizce etrafını sarmış gölgeleeer
         Am                    Bb
Bomboş koridorlarda sana eşlik ederler
Am               Gm
Yalnız kalma diyeee

F               C                  Dm
Korkutur seni o geçmişin silüetleriii
           Am                    Bb
Sonra fark edersin onlar sokak köpekleri
  Am            Gm
Biraz sevgi tüm dertleri
          Dm  C  Bb  Bb
Hepimiz gibi

          F  C  Bb  Bb
Hepimiz gibi

F                C                   Dm
Hep peşindedir o bastırılmış duygulaaar
        Am                    Bb
Saklandığın yatağında gelip bulur seni
  Am      Gm
Dönüpte kaçamazsın

F             C                  Dm
Ruhunun uçsuz bucaksız denizindeee
       Am                 Bb
Savaştığın anlamsız ikilemlerinle
  Am      Gm 
Yavaşça sızarsın, hepimiz gibi
          Dm  C  Bb  Bb
Hepimiz gibi

          F  C  Bb  Bb
Hepimiz gibi

End of song Play again?

Can Ozan - Hepimiz Gibi Tabs

NotesX

Harmony analysis

Can Ozan – Hepimiz Gibi: key and chord analysis

The song opens on F and ends on Bb. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F major side because it opens on F. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	8×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	7×
iii	Am	Mediant — a tonic-family shade	A · C · E	12×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	14×
V	C	Dominant — strongest pull home	C · E · G	10×
vi	Dm	Relative minor — the melancholy side	D · F · A	8×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	8×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	8×
iv	Gm	Subdominant — moves away from home	G · Bb · D	7×
v	Am	Minor dominant — soft pull	A · C · E	12×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	14×
VII	C	Subtonic — steps back to the tonic	C · E · G	10×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 59 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

C Dm FV → videceptive cadence DmVII → iAeolian arrival ×6
Bb F FIV → Iplagal cadence DmVI → III ×3
Gm Dm Fii → vi Dmiv → iminor plagal ×2

The move to watch is C → Dm, heard 6 times. From the F side it reads V → vi (deceptive cadence: expected F, lands on Dm); from the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over C, land on C, E, 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is F; the ear learns where home is within a second. The chords that keep coming back are Bb, Am, C, F; read them as IV–iii–V–I in F or VI–v–VII–III in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): deceptive cadence — expected F, lands on Dm. It closes on Bb, letting the F 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.