Haluk Levent - Aşkın Mapushane - Chord

Key Eb major – C minor Chords Cm, Bb, Ab, Eb, G Easy key G

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Cm          Bb    Cm
Keşke seni tanımamış    
Eb        Bb         Cm
Keşke sevmemiş olsaydım
Ab         Cm      Bb     
Zincire vurulmuş gibi  
Cm     Bb     Ab    Cm  
Sana bağlı kalmasaydım    
  
Cm                   
Aşkın mapushane       
       Bb             
İçinde ben mahkum      
                     
Saçların parmaklık      
Ab        Bb   Ab    Cm
Gözlerin gardiyan olmuş

G      Ab    Bb     Cm    
İçinde ben ziyan oldum  

Cm         Bb        Cm
Alın yazımda varmışsın
Eb         Bb         Cm
Kalbimi benden çalmışsın
Ab             Cm      Bb
Sensizliğe bir duman gibi
Cm    Bb     Ab       Cm   
Sigaranda beni yakmışsın

End of song Play again?

Haluk Levent - Aşkın Mapushane Tabs

NotesX

Harmony analysis

Haluk Levent – Aşkın Mapushane: key and chord analysis

The song opens on Cm and ends on Cm. 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 it both starts and finishes on Cm, Cm is heard 15 times against 2 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	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	1×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	7×
V	Bb	Dominant — strongest pull home	Bb · D · F	11×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	15×
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	15×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
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	1×
VI	Ab	Submediant — warm colour	Ab · C · Eb	7×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	11×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 36 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.

Chord movement

Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×7
Ab Cm EbIV → vi CmVI → iVI → i ×5
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×2

The move to watch is Bb → Cm, heard 7 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). 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 Cm, land on C, Eb, G — 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.
Over Ab, land on Ab, C, Eb — 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

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

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. Cm, Bb, Ab, Eb carry the song: vi–V–IV–I relative to Eb, i–VII–VI–III relative to Cm. 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 Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. It closes on Cm, letting the Cm 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.