Zakkum - Ahtapotlar(Akustik) - Chord

Key Bb major – G minor Chords Eb, Bb, Gm, F, Dm, G Easy key G (capo 3)

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Capo 0

Bb  Dm    G    F

Bb               Eb               F
Biz güzel olamadık, sorular soramadık
                 Eb                 Bb
Birbirimizden başka bir cevap bulamadık
                Eb                 F
Biz hiç alışamadık, bir kalıba uyamadık
                 Eb                 Bb
Birbirimizden başka bir dala konamadık

Bb     
Son bir gece daha çirkin olalım
       Dm
Aynalara değil, birbirimize bakalım
     Gm
Bir hayattı tutunamadık
      F
Gel ona bir son yazalım

Bb                Eb               F
Biz güzel olamadık, dikiş tutturamadık
                 Eb                  Bb
Birbirimizden başka bir siper bulamadık

N

Eb              Gm             
Gömleğim beyaz olsun, sen seç kıravatımı
Eb                Gm             
Eteğin kırmızı olsun, açık bırak saçlarını
Eb                 Gm             
Son kez giyin benim için ve sen ütüle kravatımı
Eb                  Gm             
Bir kağıt bir kalem bul, karala son satırlarını
Eb                Gm             
Ahtapotlar gibi son defa, dolanalım birbirimize
Eb                  Gm           F
Ellerimde ellerin, el ele el ele

End of song Play again?

Zakkum - Ahtapotlar(Akustik) Tabs

NotesX

Harmony analysis

Zakkum – Ahtapotlar(Akustik): key and chord analysis

The song opens on Bb and ends on F. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb major side because it opens on Bb. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	7×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
iii	Dm	Mediant — a tonic-family shade	D · F · A	2×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	12×
V	F	Dominant — strongest pull home	F · A · C	6×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	7×
VI	G	Chromatic colour chordoutside the key	G · B · D	1×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	7×
I	G	Chromatic colour chordoutside the key	G · B · D	1×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	7×
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
v	Dm	Minor dominant — soft pull	D · F · A	2×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	12×
VII	F	Subtonic — steps back to the tonic	F · A · C	6×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 35 times in total; 5 of them sit naturally inside the shared scale. G step outside the scale as colour chords.

Chord movement

Eb Gm BbIV → vi GmVI → iVI → i ×6
Eb Bb BbIV → Iplagal cadence GmVI → III ×3
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×3
F Bb BbV → Iauthentic cadence GmVII → III ×2
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1

The move to watch is Eb → Gm, heard 6 times. From the Bb side it reads IV → vi; from the Gm side it is VI → i (VI → i: falls a half step into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Eb, land on Eb, G, Bb — 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 Gm, land on G, Bb, D — 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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The opening Bb lays a solid floor for everything that follows. The backbone is Eb, Bb, Gm, F — IV–I–vi–V from the Bb side, VI–III–i–VII from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. The final chord is F; the ear comes to rest in Bb.

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.