Pinhani - Çok Aşık - Chord

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

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Capo 0

G#     Cm

G#                                         Cm
Her şeyi silip atmak, yok saymak, unutmak  var
G#                                        Cm
İntikam çok sinsice, aşkın kucağımda saklanır yakar 
Fm                      Bb
İçimdeki kötü fısıldar, acıt acıtabildiğin kadar 
Fm                         Cm
Acıt acıtabilidiğin kadar kanar 

Bb                    Fm                 Cm
Ben insan değilmişim, mutlu edemezmişim seni 
Bb                   Fm                  C#                 Cm
Zamansız gidermişim, yarım bırakırmışım, sonları hiç sevmezmişim 

Cm           Bb  Cm  Bb   Fm             Bb
Ama ben çok, çok,    çok aşığım, aşığım sana
G#
Aşığım

G#                                       Cm
Önce fikrin düşer, boğar gecemi sorulara 
G#                                           Cm
Hiç mi gelmez içinden huzur, ne gerek var bu kavgalara
Fm                           Bb
Affetmek aşkın içinde var, gururum gardını kollar,
Fm                    Cm
Gururum delik deşik, sana

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Pinhani - Çok Aşık Tabs

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Harmony analysis

Pinhani – Çok Aşık: key and chord analysis

The song opens on G# 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 comes to rest on Cm and Cm is heard 11 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	7×
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	G#	Subdominant — moves away from home	G# · B# · D#	6×
V	Bb	Dominant — strongest pull home	Bb · D · F	7×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	11×
bVII	C#	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	C# · E# · G#	1×
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	11×
bII	C#	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C# · E# · G#	1×
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	7×
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	G#	Submediant — warm colour	G# · B# · D#	6×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	7×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 32 times in total; 4 of them sit naturally inside the shared scale. C# is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G# Cm EbIV → vi CmVI → iVI → i ×5
Fm Cm Ebii → vi Cmiv → iminor plagal ×3
Fm Bb Ebii → Vii → V Cmiv → VII ×3
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1

The move to watch is G# → Cm, heard 5 times. From the Cm side it is VI → i (VI → i: falls a half step into home); from the Eb side it reads IV → 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 Fm, land on F, Ab, C — 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.
On C#, follow the chord's notes (C# · E# · G#) rather than the key's scale — it's a borrowed colour.

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
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The first chord is G#; the ear learns where home is within a second. The backbone is Cm, Fm, Bb, G# — vi–ii–V–IV from the Eb side, i–iv–VII–VI from the Cm side. C# briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on G# → Cm (IV → vi in Eb, VI → i in Cm): VI → i — falls a half step into home. 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.