Hayko Cepkin - Görmüyorsun - Chord

Key Eb major – C minor Chords D#, F, Cm, Gm Easy key C (capo 3)

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Capo 0

Cm
Yolum uzun ömrüm kısa   
Ben vurgunum bir cımbıza
Üç gün geçti göremedim  
Arıyorum yana yana    

D#    F        D#    F
Yok kimse bilmiyor kimse

Gm          D#        Cm
Durdurak bilmez ah bu gönül
Gm             D#       F
Sürünerek bak geçti bir ömür
Gm           D#         Cm
Suçlu olan bensem söyle bileyim
Gm          D#       F
Tut elimi yanına geleyim

Cm    
Ne haldeyim bilmiyorsun
Viraneyim görmüyorsun
Kederdeysem içiyorsam
Sebep sensin biliyorsun

D#    F       D#   F
Yok yine dönmüyor niye

End of song Play again?

Hayko Cepkin - Görmüyorsun Tabs

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Harmony analysis

Hayko Cepkin – Görmüyorsun: key and chord analysis

The song opens on Cm and ends on F. 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: we can't honestly pick a side here — the song moves freely between Eb major and C minor because it opens on Cm and Eb is heard 8 times against 4 for Cm. Try reading the chords both ways and see which feels more like home to you.

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	D#	Tonic — home	D# · G · A#	8×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
II	F	Chromatic colour chordoutside the key	F · A · C	6×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	4×
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	4×
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	4×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	D#	Relative major — the bright side	D# · G · A#	8×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	6×
v	Gm	Minor dominant — soft pull	G · Bb · D	4×
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). 4 different chords appear 22 times in total; 3 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 D#, land on D#, G, A# — 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.
Over Cm, land on C, Eb, G — 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

Starting on Cm, the song gives away its key from the very first bar. The backbone is D#, F, Cm, Gm — I–II–vi–iii from the Eb side, III–IV–i–v from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on F, letting the Eb side have the last word.

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.