Gökhan Türkmen - Efkarlıyım - Chord

Key Eb major – C minor Chords Gm, Ab, Fm, Bb, Cm, Eb, D Easy key C (capo 3)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Gm   Cm   Fm   Ab   Fm   Bb   Ab   Gm

                 Gm  Ab  Gm
Efkarılıyım bu akşam
Gm           Ab   Gm  Ab  Gm
Bir hasretle savaşan       
Gm            Ab    Gm  Ab  Gm
Dertler sardı bu akşam
Gm             Ab   Gm  Ab  Gm
Sanki içtikçe artan 

Cm   Fm          Bb    Eb          Ab
Bir ben gülemiyorum neden bilemiyorum
     Fm          Gm
Her şey bomboş yalan 
Cm   Fm          Bb      Eb           Ab
Bir sen çekip gittin bilsem sever miydim
    Fm         Gm
Dostum oldu hüsran 

Gm                  Eb  D  Cm  Bb  Fm
Ah yaşamıyorum çıkamam bu karanlıktan
Ab          Fm            Bb      Ab     Gm
Ah deliriyorum ki sebebi yok anlarım aşktan

                 Gm  Ab  Gm
İster hüzünlen ağla
Gm            Ab   Gm  Ab  Gm
İster sen de iç böyle 
Gm        Ab     Gm  Ab  Gm
Düşmeden anlamazsın
Gm            Ab    Gm  Ab  Gm
Yalnızsan sen de söyle

End of song Play again?

Gökhan Türkmen - Efkarlıyım Tabs

NotesX

Harmony analysis

Gökhan Türkmen – Efkarlıyım: key and chord analysis

The song opens on Gm and ends on Gm. 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 Cm is heard 4 times against 3 for Eb. 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	3×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	8×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	28×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	20×
V	Bb	Dominant — strongest pull home	Bb · D · F	5×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	4×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
V/iii	D	Secondary dominant V/iii — leads to Gmsecondary dominant	D · F# · A	1×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	4×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
V/v	D	Secondary dominant V/v — leads to Gmsecondary dominant	D · F# · A	1×
III	Eb	Relative major — the bright side	Eb · G · Bb	3×
iv	Fm	Subdominant — moves away from home	F · Ab · C	8×
v	Gm	Minor dominant — soft pull	G · Bb · D	28×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	20×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	5×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 69 times in total; 6 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Fm Bb Ebii → Vii → V Cmiv → VII ×4
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3
Bb Eb EbV → Iauthentic cadence CmVII → III ×2

The move to watch is Fm → Bb, heard 4 times. From the Cm side it is iv → VII; from the Eb side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Gm, land on G, Bb, D — 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.
Over Fm, land on F, Ab, 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

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

The song's harmonic story

The opening Gm lays a solid floor for everything that follows. Gm, Ab, Fm, Bb carry the song: iii–IV–ii–V relative to Eb, v–VI–iv–VII relative to Cm. D adds a moment of surprise: secondary dominant V/iii — leads to Gm. Keep an ear on Fm → Bb (ii → V in Eb, iv → VII in Cm): ii → V — the classic preparation of the dominant. The final chord is Gm; the ear comes to rest in Eb.

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.