Oğuzhan Uğur - Mağlubiyet (Murat Dalkılıç) - Chord

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

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Capo 0

     G        Ab          F           G
Geçmişi sil boşver yeni biri gibi tipi kes 
      G        Ab        Cm        G 
Sırrı mı ne? bence ya spor ya da plates 
     G        Ab     F      G
Pek de diri oysa benden yaşlıydı 
     G      Ab       Cm      G 
Kuaföre gitmiş ya bu tek kaşlıydı

      Cm              G
Ona bensizlik pek de bi yaramış 
       Cm              G
Tabii densizlik sabit kalmış 
     Ab            G
Kabuğu parıl parıl parlasa ne olur? 
      Ab
İçi fos yani 
            G
Kendini bilmeli insan tabi 

G                                
Bana göre sen tamam ama 
           Cm
Ben sana hiç uymadı mı? Koşa koşa gel bana yine 
             Bb
Yel sana hiç vurmadı mı? 
        Bb                       Eb
İçim acıyor her yeri kor kalbi uzuvlarımın 
        Eb        F               G
Pas geç beni kime göre kıyasa sokar ucuz kadınım?

        G       Ab          F        G 
Takılma bir süreç bu gül geç az sabret 
     G       Ab         Cm            G 
Dolu tarafından bak güzel olabilir hasret 
       G      Ab         F         G 
Dengeyi yengeye bağlama dik dur silkin 
     G      Ab        Cm        G 
Asma yüzünü oğlum zaten çirkinsin 

     Cm                   G
Kısmet değilmiş aşk öyle mi sence? 
         Cm               G
Şükret ölmezsin zorlama bence 
       Ab              G
Gitsin ardına bakmasa nolur? 
        Ab          G
Gıybet yapma ahtır günahtır yazıktır ayıptır ayıp 

G                                   Cm                                                        
Hep bi gider yine de güler morali ucuz kadının, 
                             Bb
Derdi iter üzerine per açtı kumarbazının, 
                                   Eb
Kuralı da yok hileli çok ona göre mağsumiyet 
        Eb         F        G
Bak bi sana göre olanını bulamadı mağlubiyet

End of song Play again?

Oğuzhan Uğur - Mağlubiyet (Murat Dalkılıç) Tabs

NotesX

Harmony analysis

Oğuzhan Uğur – Mağlubiyet (Murat Dalkılıç): key and chord analysis

The song opens on G and ends on G. 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)
#7 = B (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because Cm is heard 10 times against 4 for Eb and the major V chord points straight at Cm. 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	4×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
V/V	F	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C	6×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	28×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	12×
V	Bb	Dominant — strongest pull home	Bb · D · F	3×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	10×
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	10×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	4×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	6×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	28×
VI	Ab	Submediant — warm colour	Ab · C · Eb	12×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	3×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 63 times in total; 4 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm. F acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×6
Ab Cm EbIV → vi CmVI → iVI → i ×4
Bb Eb EbV → Iauthentic cadence CmVII → III ×2

The move to watch is G → Cm, heard 6 times. From the Cm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V/vi → vi. 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 G, land on G, B, D — 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
When G comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.

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
2 semitones up

The song's harmonic story

Starting on G, the song gives away its key from the very first bar. The backbone is G, Ab, Cm, F — V/vi–IV–vi–V/V from the Eb side, V–VI–i–IV from the Cm side. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G → Cm (V/vi → vi in Eb, V → i in Cm): harmonic-minor cadence — the major V resolves dramatically. Ending on G, 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.