Tuğkan - Tuzak - Chord

Key Eb major – C minor Chords Cm, F Easy key F

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Capo 0

Cm   F   Cm   F   Cm


          F              Cm
Bir kağıdın iki yüzü gibi 
            F              Cm
Sırtımdasın da göremem seni 
              F                Cm 
Camdan içeri esen sonbahar gibi 
                  F          Cm
Kadın hep yanlış, kadın tuzak 

         F                   Cm
Yarışmadım ben size hep güldüm
           F                Cm
Kargaların arasında bülbüldüm
             F         Cm
İyi kötü çok gün gördüm
                   F               Cm
Yaptığınız yanlış, yaptığınız tuzak

          F               Cm
Dünya döner ben değişemedim
             F                Cm
Birini severken hiç sevişemedim
          F            Cm
Hep oturdum gelişemedim
                F            Cm
Adımlar yanlış, adımlar tuzak

           F                Cm
Yol yaparlar üstünde gezerim
             F              Cm
Ressam olmadan insan çizerim
             F                  Cm
Parasını verir serden de geçerim
              F          Cm
Düzen yanlış, düzen tuzak 

           F              Cm
Evrenin sonu kadar boş içim
       F            Cm
Uğraştım almadı biçim
         F            Cm
Sevmek zor, neden niçin
             F         Cm
Kalp yanlış, kalp tuzak

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Tuğkan - Tuzak Tabs

NotesX

Harmony analysis

Tuğkan – Tuzak: 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)

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 and Cm is heard 23 times while Eb never appears. 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	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
II	F	Chromatic colour chordoutside the key	F · A · C	22×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	23×
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	23×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	22×
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	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 2 different chords appear 45 times in total; 1 of them sit naturally inside the shared scale. F step outside the scale as colour chords.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 F, land on F, A, 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

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

The song's harmonic story

The opening Cm lays a solid floor for everything that follows. Cm, F carry the song: vi–II relative to Eb, i–IV relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Cm; the ear comes to rest in Cm.

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.