Gripin - Bir Cevabım Var Mı - Chord

Key Ab major – F minor Chords Cm, C#, Bbm, Fm Easy key C

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Capo 0

Cm 
Meğer ne kadar da zormuş sorguya çekmek hayatı 
C#                                   C#      Cm 
Cezasız mı kalırlar pervasız tüketilmiş yaşamlar 
Cm 
Bir cevabım var mı 
Cm 
Kocaman aynasız odalarda aradım suretimi 
C#                                   C#        Cm 
Çırılçıplak duvarlarda bıraktığım izler kimler için 
Cm 
Bir cevabım var mı 
 
     C#                           Cm 
Hayır yok üstüme gelmeyin, faydası yok sözlerimin 
    Bbm                          Fm 
Bildiğini okuyor hayat her nasıl olsa   
   C#                            Cm 
Hayır yok üstüme gelmeyin, dönüşü yok hiçbir gidenin 
   Bbm                      Fm 
Zamanla her yokluğa alışıyor insan 
 
Cm 
Kendimi bile sevemezken 
                     C# 
Çaldığım her yabancı kapının ardında 
                 C#    Cm 
Bende kendimi aramadım mı 
Cm 
Bir cevabım var mı 
Cm 
Ucu kırık kalemimle çizdiğim 
                 C#              
Mutluluk resminin herhangi bir köşesinde 
                  C#      Cm 
Kendime bir yer ayırmadım mı 
Cm 
Bir cevabım var mı

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Gripin - Bir Cevabım Var Mı Tabs

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Harmony analysis

Gripin – Bir Cevabım Var Mı: key and chord analysis

The song opens on Cm and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

Major view

Ab major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the F minor side because Fm is heard 2 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	2×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	14×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	C#	Subdominant — moves away from home	C# · E# · G#	10×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
vi	Fm	Relative minor — the melancholy side	F · Ab · C	2×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	2×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	2×
v	Cm	Minor dominant — soft pull	C · Eb · G	14×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	C#	Submediant — warm colour	C# · E# · G#	10×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	—

Analysis

The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 28 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Bbm Fm Abii → vi Fmiv → iminor plagal ×2

The move to watch is Bbm → Fm, heard 2 times. From the Fm side it is iv → i (minor plagal: deep and melancholic); from the Ab side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over C#, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — 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 Ab major shapes

Capo 1 + G shapes
Capo 4 + E shapes
Capo 6 + D shapes

With F minor shapes

Capo 1 + Em shapes
Capo 3 + Dm 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 Cm; the ear learns where home is within a second. Cm, C#, Bbm, Fm carry the song: iii–IV–ii–vi relative to Ab, v–VI–iv–i relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Fm (ii → vi in Ab, iv → i in Fm): minor plagal — deep and melancholic. It closes on Cm, letting the Ab 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.