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)
Burcu Güneş - Gül Kokusu - Chord
Key Eb major – C minor Chords Cm, G, Fm, Ab, Bb Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Fm Cm
Sen sevmeye yeltenmemişsin çocuk
Fm G Fm
Belki de kendine güvenmemişsin
G Fm Cm
Gönlün kurak yaşlarla büyümemişsin çocuk,
Ab G
Nefes almak yeter sanma
Ab G Cm
Yaşamayı öğrenmemişsin
Cm Bb G Ab G
Denedim denedim diyorsun anlamıyorsun
Cm Bb Fm
Her sevginin sonu acı çekmek mi sanıyorsun
Fm
Sevenler gerçekten gider mi
Cm
Gitmekle sevgi biter mi
Ab G
Gönül gül gibidir
Ab G Cm
Dikenler gönül deler mi?
Cm G Cm G Cm
Gül kokusu kalır sana dokunanın elinde , elinde
Fm G Fm
Sanma ki kalp yaşar yalanların himayesinde
Cm
Zulumler diken olur hercai hevesinde
Ab G
Unutma dikenin güzelliği
Ab G Cm
Yalnız gül sayesinde
End of song Play again?
Burcu Güneş - Gül Kokusu Tabs
NotesX
Harmony analysis
Burcu Güneş – Gül Kokusu: 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.
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 13 times while Eb never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 8× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 13× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 7× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 2× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 13× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 13× |
| 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 | 8× |
| 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 | 13× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 7× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 2× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 43 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
- G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×6
- Fm Cm Ebii → vi Cmiv → iminor plagal ×4
- Fm G Ebii → V/vi Cmiv → Viv → V ×3
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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, 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.
- 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
- 4 semitones up
The song's harmonic story
Starting on Cm, the song gives away its key from the very first bar. The chords that keep coming back are Cm, G, Fm, Ab; read them as vi–V/vi–ii–IV in Eb or i–V–iv–VI in 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 G → Cm (V/vi → vi in Eb, V → i in Cm): harmonic-minor cadence — the major V resolves dramatically. Ending on Cm, the song seals Cm 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.
Burcu Güneş - Gül Kokusu Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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