Mustafa Ceceli - Topla - Chord

Key Eb major – C minor Chords Gm, Fm, Bb, Eb, Ab, Cm Easy key C (capo 3)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Gm                         Eb       Fm      Gm
Yolum geçiyordu sevgiden, gülüşüne denk geldim
Fm              Gm         Bb         Fm    Gm
Epeydir yerini unutmuşken, şu kalbimi hissettim
Gm             Eb  Cm          Ab
Peşine taktın beni sensiz duramıyorum
Fm              Gm       Bb     Fm    Gm
Galiba dünyanın en güzel aşkını yaşıyorum

Eb                     Fm                Bb
Saçlarının gölgesinde beş dakika dinleneyim
Fm                   Bb            Gm   Fm   Bb   Gm
Yanağındaki gamzene izin ver gizleneyim

Cm          Bb   Ab           Gm              Eb
Topla hadi beni kapılarından, ne gururu ölüyorum aşkından
Fm                              Gm                Ab     Gm
Sevince böyle mi oluyor insan, al gönlüm peşinde yerle yeksan
Cm           Bb  Ab           Gm              Eb
Topla hadi beni kapılarından, ne gururu ölüyorum aşkından
Ab                 Fm            Gm          Fm    Gm
Sevgilim kalbimin kalbisin sen, bir inansan bir inansan

Gm                          Eb           Fm     Gm
Ben böyle bir şey görmedim, bu güzellik çok fazla
Fm            Gm        Bb        Fm  Gm
Öpe öpe doyamadım sana, kıyamam ki asla
Gm                 Eb     Cm           Ab
Zaman yok yanımda sanki, içine çektin beni
Fm              Gm             Bb       Fm   Gm
Bakmaya doyamaz yer gök sana, sen aşkın efsanesi

End of song Play again?

Mustafa Ceceli - Topla Tabs

NotesX

Harmony analysis

Mustafa Ceceli – Topla: key and chord analysis

The song opens on Gm and ends on Gm. 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 Eb is heard 7 times against 4 for Cm. 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
I	Eb	Tonic — home	Eb · G · Bb	7×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	16×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	22×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	6×
V	Bb	Dominant — strongest pull home	Bb · D · F	9×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	4×
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	4×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	7×
iv	Fm	Subdominant — moves away from home	F · Ab · C	16×
v	Gm	Minor dominant — soft pull	G · Bb · D	22×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	6×
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). 6 different chords appear 64 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

Fm Bb Ebii → Vii → V Cmiv → VII ×3
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×2

The move to watch is Fm → Bb, heard 3 times. From the Eb side it reads ii → V (ii → V: the classic preparation of the dominant); from the Cm side it is iv → VII. 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — 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

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

The song's harmonic story

The first chord is Gm; the ear learns where home is within a second. The backbone is Gm, Fm, Bb, Eb — iii–ii–V–I from the Eb side, v–iv–VII–III from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bb (ii → V in Eb, iv → VII in Cm): ii → V — the classic preparation of the dominant. Ending on Gm, 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.